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War and Peace in Feng Zikai's Wartime Cartoons

Despite repeated calls by some historians for increased dialogue between history and art history, few historical works have paid sufficient attention to art as a valuable, legitimate historical source (Rabb, 1973; Paret and Lewis, 1985). There is no question that art plays an important part in our life. It embodies a rich part of human aesthetic and imaginative experience. Studying art will illuminate areas of past history that have been left untouched by documentary evidence. Art be it architecture, painting, or iconography is as important a historical material as are written statements. A piece of art not only tells us much about the creative process of the artist, but also, whether intended or not, sheds light on the complexity of the society from which it emerges. Carl Schorske's study of the Ringstrasse urban architecture, for example, provides insight into the rise of the liberal middle class in late nineteenth-century Vienna (Schorske, 1980); Maurice Agulhon's work on Marianne, the symbol of the French Republic, reveals the rich and intricate interplay between political images and social upheaval during and after the French Revolution (Agulhon, 1980); and Peter Paret's analysis of Alfred Rethel's (1816-1859) sequence of six woodcuts Another Dance of Death uncovers the political and social conflicts in the German Revolution of 1848 (Paret,