During the artistic career of Dai Jin, a painter of the Ming Dynasty, there are numerous depictions of spring scenes. These include *Returning Late from a Spring Outing* inspired by the lines "The spring breeze turns the south bank of the Yangtze green again; when will the bright moon shine on my return?", *Spring Plowing* portraying farmers at work, the ink-wash fresh and distant *Jade Green Spring Mountains*, and the blue-green dense *Spiritual Valley Spring Clouds*. Among them, the liveliest and most richly composed is *Spring Revelry*.  

Spring Revelry*: A Vivid Portrait of Spring Indulgence  

Spring Revelry* is a large-scale (291.3×171.5 cm) vertical scroll with colors on silk, traditionally attributed to Dai Jin and currently housed in the National Palace Museum, Taipei. The painting depicts a scene of green pines, verdant cliffs, peach-blossom villages, and people returning drunk after a spring banquet. The main mountain in the painting is divided into two, and the independent scenes formed by pine trees and winding mountain paths at the foot of the mountain unfold like earthly "dramas". Frequent and diverse eye contacts and interactions among the figures are filled with secular rustic charm.  

Foreground: In the warm spring sunshine by a mountain stream, two small boats and a bamboo raft are moored by the river on the right. An old man sips wine in the front boat, while a woman opposite holds a pot ready to pour. Beside her, another old man dozes lightly on the table, his relaxed facial expression reflecting physical and mental ease. In contrast, on the adjacent boat, a burly man sits cross-legged at the bow, eagerly turning to watch a woman busy by the stove, appearing almost ravenous. Meanwhile, on the mountain path to the left, drunk pedestrians stream along in haste, each in a distinct state—the official leaning drunkenly on horseback and servants watching over him are particularly vivid. At the center of the painting, a towering pine on the rock soars skyward, guiding the viewer’s gaze to the middle ground and up to the steep, towering peaks.  

Middle Ground: From bottom to top in the middle ground, the left side features official residences hidden by pines, drunken returnees, wine shop flags, a platform for cloud-watching, and ancient temples in the mountains. The right side depicts drunkards crossing a bridge and banquets in mountain homes. The scenes are cleverly layered, with numerous figures in varied postures, all vivid and lifelike.  

Background: The strange peaks emerging from the clouds in the distance are rendered with rocks using varied thick and thin brushstrokes, twists, and turns. The combination of outlining and dyeing creates strong brush momentum and ink color variations, imposing in grandeur and establishing a lofty realm for the entire composition. The painting’s excellence lies particularly in the depiction of human figures. The pauses and turns in the lines of clothing folds are vigorous and free, full of dynamic energy, showcasing the joyful atmosphere of ordinary people and rich secular taste.  

Attribution Controversy: A Typical Work of the Zhe School  

The painting bears no signature or seal. Although traditionally attributed to Dai Jin, its rugged rock structures, spatial depth, excessive sharply jumping and twisting lines with forking or acute-angle turns, and slightly fragmented brushwork differ from Dai Jin’s techniques. It bears a closer resemblance to the surviving works of Zheng Wenlin, a late Ming Zhe School master active during the Jiajing period, suggesting it may have been painted by Zheng. Regardless, this exquisitely brushed work is undoubtedly one of the representative works of the "Zhe School".  

The Zhe School: A Dominant Force in Ming Dynasty Painting  

The "Zhe School" was a pivotal painting school in Ming Dynasty art history. Led by Dai Jin, it comprised professional painters from Zhejiang who drew inspiration from the Southern Song academy style, characterized by bold and vigorous brushwork. They not only made a living through painting in society but also served as imperial painters in the Jinyiwei (Imperial Guard), becoming the main force in court painting creation.  

Dai Jin (1388–1462): Founder of the Zhe School  

Dai Jin, styled Wenjin and alias Jing’an, hailed from Qiantang (now Hangzhou, Zhejiang), serving as the founder and leader of the Zhe School. Originally a silversmith, he later turned to painting and gained early fame. Proficient in figure, landscape, and flower-and-bird painting, he possessed profound skills, broke free from conventions, and established his own style. His painting style drew from Li Tang, Liu Songnian, Ma Yuan, and Xia Gui of the Southern Song Dynasty, while also learning from Guo Xi and Yan Wengui of the Northern Song. His brushwork was bold and vigorous, concise yet incisive, with outwardly expressed strength and slightly thin connotation. Occasionally, he created light and clear works, which were unique. During the Xuande reign, he painted at court but left due to In Beijing, he associated closely with ministers like Wang Zhi, Yang Shigi, and Xia Chang, leaving behind many works. Around the end of the Zhengtong reign, he returned to Qiantang, where his reputation soared, earning him the title of head of the "Zhe School". Due to his fame, some unmarked high-level Zhe School works from his era or slightly later were attributed to him by later generations, and *Spring Revelry* may be one such example.