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Teacher Yang helped Zhu Ming to affirm his sense of self, emphasizing the features of oriental aesthetics and “the power of simplicity.” Zhu Ming recalled the lessons of his temple days stressing simulation, delicacy and brightness. But Yang taught him to “get rid of over-delicacy” and “embrace the basic.” It took time, but Zhu slowly began to develop a rougher, more courageous carving style. From time to time, Yang reminded him of the importance of Chinese elements, and that he should not abandon the styles of his ancestors, even if he had become inevitably influenced by Western carving.
These “Chinese elements” are perhaps the most appealing aspect of Zhu Ming’s works. After his “Tai Chi Series” were exhibited four years ago, Zhu’s art was displayed again at the National Art Museum of China in Beijing on July 19, 2010. This showcase featured sculptures carved over a career spanning more than 30 years, displaying the development of what the artist called his “World Series.” The latest piece of his work, “World Series – Imprisonment”, made its debut at this exhibition. A perfect example of Zhu Ming’s unusual brand of humor, the work presents a happy new couple locked in a cage like prisoners.
The caption for the piece reads: “If marriage fetters life, a couple will lose the freedom and detachment such as that enjoyed by fish, which prefer to swim freely and alone rather than care for each other’s misery. As the couple interferes with each other instead of supporting each other, the congenial marriage will inevitably turn into a tomb of love.” Zhu Ming stressed that “imprisonment” is the transformation from puzzlement to enlightenment. To reside in heaven or on earth depends only on an impulse, a sudden realization. As a Buddhist saying goes, the butcher who lays down his knife becomes a Buddha. “If the figures in the sculpture are enlightened and willing to walk out of the cage, they will cast off the chains of their lives.”