In 1968, Ju Ming entered into an apprenticeship in Taipei under the well-known Taiwanese sculptor Yuyu Yang. Yang believed that while Ju had a fairly solid build, he was too thin, and advised him to take up Taichi to build up his strength and train his will. His study of Taichi brought Ju Ming to a realization about the relationship between body and mind, and the source of strength and bringing it into balance. He came to understand the philosophy of man in union with the universe and the importance of erasing boundaries between self and other, and started creating the Kung Fu Series. In 1976, Yang was invited to exhibit at the National Museum of History. But after the exhibition had been scheduled, Yang was unable to finish his work and delegated Ju to replace him. Since then, Ju has amazed the world with his brilliant feats.
In the 1970's, facilitated by the Taiwan Literature Movement, Taiwanese art began to burgeon the petition for "return of the native, recognize Taiwan", aiming to restore the local cultural bases amidst the chaotic social environment. During the time, Ju had responded to the Movement in artistic creation: When he was a child, he had to help his family raise sheep and cattle; the memories of village life realized in a clear-cut execution in Shepherd Boy and Cattle (Lot 1343). Zhuge Liang (Lot 1341) is not merely a portrait of historical figure but also one that is emblematic of cultural significance portrayed in poems, he "dressed as a scholar with a fan in hand, yet in relaxed conversation he could ward off strong enemies like ashes and dust" symbolizing a profound meaning in Chinese culture. When fifteen, Ju followed the sculptor, Lee Jing-Chuan to learn the skills of sculpture and paintings. Besides representing the popular belief of the Chinese coastal area, Mazu (Goddess of the Sea) (Lot 1342), it also holds considerable personal meaning to the artist as his earliest artistic endeavour was through his participation in the renovation of Cihui Temple at Mazu shrine in his town. With this, we find Ju's invariable breakthrough and climaxes in his artistic creation in always concerning about "man" in his work, but moreover in his endless pursuits for and inheritance from the Chinese traditional spirit of Confucian and Daoism.