Ju's original name is Ju Chuan-tai. At the age of 15, he began to study sculpture and painting under the master sculptor, Li Jin-chuan, and started his career as a sculptor. When he reached thirty, Ju decided to expand his sphere of art and went to study with Master Yuyu Yang. In 1976, Ju held his first exhibition in the National Museum of History. The exhibition made an immediate impression, and he received much praise, helping establish his position in the art field and making him an important and treasured symbol for native movement of Taiwan in the 1970s. However, he did not rest on his laurels, but continued his creative work with even greater tenacity, developing his well-known "Taichi Series." Beginning in 1987, Ju Ming realized his dream, "Preparing and cultivating the seeds of art," step by step. From zero to hundred and from wasteland to park, his works was set up in Jinshan in northern Taiwan. After 12 years of hard work and spending nearly all his savings, the Juming Museum officially opened in 1999. The museum is the utmost work of Ju's career, and it represents the artist's greatest contribution to the society.

In 1979, Ju Ming lived next door to ceramic artist, Ah Leon (Chen Ching-liang). This was the time when Ju started to work in ceramic art. For Ju Ming, clay is a fantastic creative medium full of potential, and he wanted to develop a new artistic style by this material. He pinched and formed the clay in a quick and natural way to achieve the desired results. Therefore, ceramic technique was not his first priority. According to Ju's natural creative perspective, the best creation is from all kinds of unexpected surprises in ceramic process. During the early 1980s, Ju Ming became an established artist in Taiwan, but he was not content with fame and refused to limit himself by geography. During a visit to New York, the art city of America, Ju's "Living World Series" won world-wide recognition and soon established his name in the international art field. The series was the pinnacle of Ju's artistic oeuvre. In order to reflect his detailed and perceptive observation of life in its infinite forms, Ju Ming changed his working media from wood, to clay, sponge, bronze, stainless steel, etc, basically anything he could find and use.