Ju Ming (Zhu Ming)

Important Private Asian Collection

A: This work is overall in very good condition. The wood cracks across the body, notably on its back and on the top of the base, shall belong to the original condition of the material during the artist's creation. B: This work is overall in very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Nativism and Confucian Ethics

‘My artistic career has been like the growth of a tree: Homeland is its root, and Taichi its branches.’

Ju Ming, excerpt from The Aesthetic of Ju Ming by Pan Xuan

Although Ju Ming began to focus on the Taichi series in 1976, he did not give up on the Homeland series, which as he said was the ‘root’ of his art. Completed in 1991, Rooster and Hen (Lot 1030) is representative of his return to Homeland in the 1990’s. Here he boldly departs from the fine detailing and smooth polish typical of folk craft and purposely leaves signs of cutting and carving throughout the cock and hen. The natural grain and texture of the wood are also preserved. Ju Ming’s sculpting is more decisive than before, quickly articulating the fierceness of the cock with its piercing eyes and upturned tail. The round and substantial body of the hen effectively convey its motherhood, and indeed she nurtures several chicks on her shoulder and beneath her wings. The parental love and care is palpable. Ju Ming’s anthropomorphic treatment of the chickens conveys a Confucian ethics of familial relations. As the critic Jiang Xun comments, the work ‘conveys feelings that are earthy and relatable, without any heroism, without the arrogance of genius, but rather with infinite humility, generosity, and diligence.’ This is why the work is harmonious, lively, and affecting.