Calligrapher Dao Huy Hoang and his enduring writing journey

The relationship between teacher and student is one of inheritance and legacy—an exchange of knowledge, skill, and human insight. Only those who have sought wisdom without a mentor can truly appreciate the nobility of a teacher’s role.

In Vietnam, calligraphy lacks a formal lineage of masters, and Hoang dedicated decades to self-study, learning from the works of 20th-century calligraphy pioneers such as Edward Johnston, who laid the foundations of modern calligraphy, and Hermann Zapf, known for his elegant letterforms. In 2013, the American calligrapher Margaret Shepherd introduced a Roman script course in Vietnam, marking the beginning of Hoang’s transformative journey.

To expand his artistic perspective, Hoang pursued studies in Urushi, illumination, and Nihonga, among other disciplines. He later had the privilege of studying calligraphy under Christopher Yoke and the art of maki-e with Matsuda Shokan. Both mentors profoundly shaped his life: one, a former American rebel turned meditative pen maker; the other, a master of quiet refinement, deeply rooted in Meiji-era traditions. Each year, Hoang devoted time to learning, working, and living alongside his teachers, gaining not only technical expertise but also a profound understanding of temperament and character.

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Handwriting, Personality

Chinese calligraphy, with its centuries-old hieroglyphic structure, expresses the universe through brushstrokes imbued with energy and spirit. Meanwhile, Western calligraphy, based on Greek and Latin characters, emphasises composition—balancing square, round, and triangular forms—along with pen angles and word structures.

Styles such as regular script, running script, and cursive correspond to formal, semi-formal, and expressive writing styles. While Eastern calligraphy relies on the soft flexibility of a brush tip, Western calligraphy employs rigid nibs crafted from bird feathers, goose quills, or metal, resulting in distinct approaches to the written form.

Calligraphy was once used to transcribe scriptures, doctrines, and sacred texts within temples and churches. As they wrote, practitioners naturally absorbed the wisdom contained in the words.

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In the Eastern tradition, calligraphy is a means of cultivating discipline and refining the spirit. The practice sharpens the eyes and purifies the heart. Handwriting, personal character, and family values are intrinsically linked—calligraphy shapes moral integrity rather than simply being a reflection of it.

Today, many parents encourage their children to practise calligraphy for the sake of beautiful penmanship, yet this focus risks missing its deeper essence. True calligraphy training is about posture, discipline, and etiquette rather than the formation of letters alone. Without this foundation, a child may lose their own identity in the pursuit of aesthetic perfection. Preparing the study space—arranging the desk, paper, ink, and pen—is an exercise in mindfulness, instilling respect for tradition and daily conduct. A soiled brush should not be dipped into clean ink, nor should paper be marked carelessly—such principles reflect the Confucian ideal of “torn paper must still retain its margins”, a metaphor for preserving dignity in all circumstances.

Mastering One Art

Vietnam once held a sophisticated artistic sensibility. Historical upheavals, wars, governance, and shifting national priorities have left the country trailing behind culturally similar nations. The tradition of master artisans passing down their craft remains, but true aesthetic refinement cannot flourish unless the teacher possesses it first.

Internationally acclaimed as a master calligrapher, pen maker, and Urushi lacquer artist, Huy Hoang has nurtured generations of students worldwide through his meticulously designed curriculum. His teaching spans styles from Italic and English Roundhand to Spencerian and Roman script. Yet beyond technique, Hoang imparts an appreciation for calligraphy’s heritage, igniting a passion in his students that transcends the written form.

“Japan is the country that best preserves traditional arts,” says Hoang, “with many of its national treasure artists and craftsmen dedicated to maintaining these legacies. However, even in Japan, traditional learning methods are becoming increasingly rare. The emphasis on hierarchy is both a strength and a challenge. Meanwhile, the United States is emerging as a leader in semi-manual artistry, balancing structured operations with open-minded innovation.

“Vietnamese students, on the other hand, often excel in hands-on practice but lack depth in academic research. Across Asia, calligraphy is now being taken up by younger generations, yet adapting teaching methods to suit modern times is crucial for ensuring its survival.”

The Dot Determines the Universe

Driven by his devotion to the craft, Hoang quickly distinguished himself within the global calligraphy community. An artist’s essence is revealed in their choices—the paper, the pen, the script, the colour of the ink, the composition of the work. Using royal paper dyed from Hoang Dang wood, Hoang leaves his signature touch: a harmonious fusion of calligraphic structure and artistic embellishment. Each stroke carries a distinct presence, at once disciplined and resplendent.

For Hoang, calligraphy is a philosophy of connection. The relationship between writer and writing is built on love and intention, each letter a bridge between thought and expression. Through his work, he strives to achieve balance, structure, and a sense of direction, mirroring the lifelong journey of self-discovery. To practise calligraphy is to engage in an endless pursuit of refinement, an upward path towards a deeper understanding of oneself and the world.

Originally published in the print edition of Tatler Vietnam, November 2024.

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