A Brief History of Ông Đồ, Vietnam’s Scholars Whose Calligraphy Is Highly Sought After

To say that Tết gathers together everything most beautiful in Vietnamese culture would not be an exaggeration. More than a threshold between the old year and the new, it is also a time when people feel they can return to, and relive, the traditional values that define them.

It is there in those year-end markets, where one searches for the familiar flavors of home. It is there in the square bánh chưng, shaped like the earth, and the cylindrical bánh tét, round like the sky. These are humble offerings, yet deeply reverent, placed before one’s ancestors. And on the afternoon of the 23^th day of the last lunar month, families erect cây nêu (tall bamboo pole) in front of their homes. A small wind chime hangs from it, trembling in the breeze as a quiet gesture meant to ward off misfortune.

Whenever strips of red paper begin to appear along Hàng Mã Street, I find myself thinking of ông đồ who once wrote characters on dó paper. What does the person who comes to ask for a character truly seek, if not something beyond a few strokes of calligraphy? And what does the giver offer, if not something beyond a flourish of black ink?

Silk robes and scholar caps

In the Confucian civil service examination system, candidates who passed three rounds and earned the degree of Tú Tài, a licentiate-level qualification, were known as “ông đồ.” Many never entered official service. Those who advanced only through the lower examinations would continue preparing for higher rounds such as thi Hội (the metropolitan exam) and thi Đình (the palace exam). In the meantime, they often supported themselves by teaching, hence the name “thầy đồ,” literally "scholar-teacher,” or by writing on commission.

Ông đồ reading, 1915. Photo by Léon Busy.

In the book Traditional Vietnamese Customs, compiled by Toan Ánh, a passage reads: “Elementary learning had no state-run schools, yet in every village there were a few ông đồ who taught children. Books were handwritten, as printed books were very expensive. Every ông đồ kept a small library, and students copied their lessons from the master’s books…”

Being recognized as an ông đồ required more than just wearing a traditional robe and knowing how to write. The title was reserved for those who possessed both literary skill and wisdom. Even if they had not achieved high academic honors, they maintained their integrity, lived honestly, and followed tradition. This was because, in earlier times, education was seen as a way to learn not only how to read and write but also how to be a person of virtue. The scholar was a symbol of intellect and character in society. People revered them not just for their elegant brushwork but for their clear conscience and steadfast values.

In the past, people sought out ông đồ when they needed “special scripts” (xin chữ) or someone literate to help with formal documents. This gave rise to the tradition of requesting and giving calligraphy. During festivals and especially at Tết, students and those devoted to study would ask for specific characters as a way of absorbing good fortune and intellectual blessing.

There was an unspoken etiquette to asking for a script. The petitioner would bring a modest offering such as betel and areca, tea, or tobacco, and come to the scholar’s home. The scholar, in turn, had to be solemn and respectful, giving his art only to those who truly valued the written word, rather than those merely pretending to be cultured.

Ông đồ on the street of Hanoi, 1913–1917. Photo by Léon Busy.

Characters were written in calligraphic form and rendered on many styles on sheets of red paper. Red, in eastern belief, is the color of luck and auspicious beginnings. The writer would let mood and instinct guide the brush, shaping letters into forms that were sometimes striking, sometimes unexpected. Each character that emerged beneath the scholar’s hand was more than a work of calligraphic art. It carried temperament, personality, feeling, and the distinct creative imprint of the individual who wrote it.

A word worth a thousand in gold

The old saying “nhất tự thiên kim,” meaning “one character [is] worth a thousand gold pieces,” is associated with Lü Buwei, as recorded in Sima Qian’s Records of the Grand Historian. The powerful Chinese chancellor once hung his book at the capital gate and offered a reward of gold to anyone who could add or remove a single character. His authority was so immense that no one dared step forward to revise it. Over time, the phrase became a classical allusion to writing of exceptional value.

Beyond its physical form, the written character is a means by which humanity preserves memory, opens understanding, and connects across time. That is why words are likened to gold. Dr. Cung Khắc Lược, a veteran calligrapher, explains: “Thought, emotion, and the inner life are always expressed through language, through vocabulary, through text. A single character written on a page, a word from the heart and mind offered to another, is worth a thousand gold pieces. It surpasses material wealth.”

Ông đồ stationed in front of Hương Pagoda, Hanoi, 1995. Photo via Flickr user lonqueta.

Over the years, the practice of asking for characters has grown more widespread, becoming a cherished custom each time Tết returns. From the mountains to the delta, regardless of wealth or status, anyone who comes with sincerity may ask for a character.

Each brushstroke carries a particular wish or intention. One might request Cát Tường (auspiciousness) or Như Ý (fulfillment) to pray for peace within the family. Others ask for Phát, Lộc (prosperity, fortune), or Tài (excellence) in hopes that their work will prosper and unfold smoothly. Young people often request for Chí (resolve) or Đắc (achievement) as a way to steady themselves in the face of hardship.

The ritual is no longer bound by the formalities of the past. The giver need not be an elderly scholar in traditional robes with silvered hair and beard. There are now modern calligraphers, western-trained writers, and women who are taking up the brush.

The art, too, has moved beyond black ink on red paper. Characters are carved or brushed onto wood, stone, bamboo, silk, or brocade. Seal script, clerical script, regular script, cursive, running script, every form has its place. Along city streets and in temple courtyards, people queue patiently for characters that unfurl across the page like phoenixes in flight and dragons in motion, a beautiful custom that feels inseparable from the first days of the new year.

Modern calligraphic masters come from all walks of life. Photo by Alberto Prieto.

Dedicated “scholar streets” have also emerged to honor this traditional custom. In the north, the Temple of Literature is widely regarded as a symbolic “village of examination candidates.” In the south, the practice of asking for calligraphic characters dates back to the 17^th century, when the Nguyễn lords expanded southward to develop new territories, followed by waves of migrants from the north and central regions. It was not until the late 17^th century, however, when Chinese communities began settling and cultivating the areas around Biên Hòa and Đồng Nai, that the custom truly flourished. The long coexistence of different cultures has, in subtle ways, shaped the distinctive character of this southern tradition.

Today, more than half of the calligraphy masters are students of classical Sino-Vietnamese studies or simply lovers of the art. Those who come to request characters span every age group, social background, and profession. This is not a fleeting trend. I see it as an act of cultural transmission. Whatever changes in form or setting, the essence of the custom remains intact. The person holding the brush pours care and craft into every stroke. The one who asks comes with respect for learning and for the traditions that have shaped it.

Photo by Alberto Prieto.

[Top image by Léon Busy.]