Ju Ming simplifies physical details to create a free and flexible sculpture displaying the full strength of Taichi. Meaning not only rests in the form it takes, but also in the wood and scripts. The wood is itself a witness of life in nature, shaped by the seasons and physical environment, as evident in its grain, lines and scars. The sculpting follows the inner qualities of the wood to build dialogues and back-and-forth movements, symbolising the spiritual concepts of yin and yang and continuity. Ju Ming applies both sculpting and carving in a way that allows the image of the sculpture to be unraveled one by one. Ju Ming said: "I did hand-tear the wood at some point to let it crack through the natural lines to preserve its original textures. It enables the emergence of artistic vocabulary and vitality which I have no intention to change. Natural wood is an everlasting life form with shapes and lines more beautiful than anything I carved." Created in 1990, Taichi Series (Lot 127) captures the momentary attack, with the fist facing down, the kick coming along with a turn of the waist. An inner yet energetic force flows nicely under the seemingly quiet wooden surface. Michiaki Kawakita, curator of the Tokyo Metropolitan Art Museum, described Ju Ming's work in the 1970s: "Ju Ming's work projects a feeling of weight, as does the work of recent modern Japanese sculptors. Ju Ming's works also project a sense of movement, and this too our modern Japanese sculptors do. But none of our modern Japanese sculptors can do both of these things at the same time, as Ju Ming does." The 1995 Taichi Series (Lot 128) depicts two martial artists - one attacking one defending - in motion. The offensive side raises its leg while the defender opens its arms wide to form a gate, guarding the body from all aggressive moves. Each attack and defense - one moving forward while the other stepping back - involves the Chinese philosophy of yin and yang. In another Taichi Series (Lot 130) completed in 1996, two boxers seem to be more restrained. The left figure's open palms surround the fists of the other. However, this does not make the left figure a winner since the right one responds with stronger inner force. The same goes push and pull occurs on the opposite side. Four hands become an arch of circulating and interwoven martial elements.