Graffiti in Shanghai and Chengdu: Looking for Chinese writing, symbols and calligraphy along the streets

Authors

  • Marta R. Bisceglia University of Bologna
  • Martina Merenda University of Bologna

Abstract

After a brief introduction to the origins and development of graffiti in China, this paper first examines the graffiti scene in Shanghai through two prominent figures. On one hand, the analysis focuses on 1. the OOPS crew—Shanghai’s most renowned and influential graffiti crew, composed of both Chinese and Western members. The crew merges the Western graffiti art movement with Chinese artistic and cultural traditions, incorporating Chinese characters, calligraphy, and ancient symbols into their work. On the other hand, within this same international context, the paper considers; 2. Dezio, a French graffiti writer highly regarded in Shanghai, who integrates Chinese characters and employs a Chinese tag in his creations. These two actors exemplify the cultural cosmopolitanism and intercultural dynamics that make Shanghai fertile ground for creative expressions born from cross-cultural ‘contamination.’ To further explore the diffusion of graffiti art in China, this paper also investigates the graffiti scene in Chengdu. The analysis focuses on two case studies: 1. GAS, one of Chengdu’s most prominent graffiti writers, who expresses his identity and artistic intent through his Chinese tag (qi 氣). His works are centered on Chinese script, frequently utilizing traditional characters and drawing inspiration from Chinese calligraphy to create a distinctive, locally oriented graffiti style; 2. Fan Sack, who began his career as a graffiti writer in Chengdu and now resides and works in Paris. Transitioning from graffiti writing to figurative paintings inspired by Buddhist themes, Fan Sack has developed a more representational artistic language, spreading his work throughout Europe.

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Author Biographies

Marta R. Bisceglia, University of Bologna

Marta R. Bisceglia is a Research Fellow and Adjunct Professor at the Department of Interpretation and Translation (DIT) of the University of Bologna. For several years, she has been engaged in the study of graffiti in Asia. In February 2021, she joined the WRITE Project through the research fellowship WRITE: New Forms of Calligraphy in Contemporary China. The Case of Graffiti Art. Her research focuses on the relationship between calligraphy and graffiti writing in China, Taiwan, and Hong Kong. She continued this line of inquiry as a PhD student in the same field. Since November 2024, she has been collaborating with the WRITE Project through the research fellowship Calligraphy and Graffiti in Contemporary China: A Focus on Socio-Political and Economic Aspects.

Marta can be contacted at: martarosa.bisceglia@unibo.it

Martina Merenda, University of Bologna

Martina Merenda is a sinologist, translator and professional dubber. In her research activity she focused on the Chengdu graffiti scene. She is currently a Research Fellow at the Department of Interpretation and Translation (DIT) at the University of Bologna and has been a member of the WRITE Project since 2021. In February 2021, she joined the WRITE Project through a research fellowship, investigating the relationship between contemporary Chinese calligraphy and performing arts. She continued this research as a PhD student in the same field. Since November 2024, she has been collaborating with the WRITE Project through a research fellowship titled “New Forms of Calligraphy in China: A Focus on Decorative and Applied Arts.

Martina can be contacted at: martina.merenda@unibo.it

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Published

2025-02-20

Issue

Vol. 28 No. 2 (2024): Special Issue on Chinese Studies

Section

Chinese contemporary art

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