Do paper and the journey of reviving a traditional craft in the modern era.

Do Paper Museum - a place for preserving and spreading the tradition.

One of the most interesting places to understand and experience this special type of paper is the Do Paper Museum at 189 Trich Sai Street, on the shores of West Lake, Hanoi. Currently, the museum is open free of charge from Tuesday to Sunday, for all those who love Vietnamese culture, handicrafts, or simply want to find a moment of tranquility amidst the city.

Here, visitors can not only admire precious artifacts, from ancient paper-making tools to modern applied products, but also directly participate in the paper-making process. From scooping and drying the paper, to decorating it by hand, and even painting on traditional Vietnamese dó paper, the museum experience is not only educational but also full of creative inspiration.

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This is also a place that preserves real-life stories about papermakers – master craftsmen who have spent their lives working with tree bark and pulp, young people who have given up office jobs to pursue the papermaking trade, and even children who are learning about "paper from trees" for the first time instead of paper from printing presses.

For a long time, it was thought that the craft of making dó paper – a quintessential Vietnamese handicraft – would forever remain only in memory. But then, amidst the rapid development of modern society, in the age of technology and industry, dó paper is gradually making a comeback.

Do paper – a name that sounds simple yet familiar – is a type of paper made entirely by hand from the bark of the Do tree or Duong tree, trees that grow in the midland and mountainous regions of northern Vietnam. Since ancient times, Do paper has been present in many cultural activities: used for copying books, writing poetry, calligraphy, and especially for printing famous folk paintings such as Dong Ho, Hang Trong, and Kim Hoang. Because of its high durability, resistance to mold and termites, Do paper was once considered a "treasure" in preserving culture.

Light from a journey to "save paper"

Ms. Tran Hong Nhung, the founder of the Zó Project, has dedicated a decade to reviving this increasingly forgotten type of paper. With a love for Vietnamese craftsmanship, nature, and culture, Ms. Nhung not only "makes paper" but also lives and breathes it – from remote highland villages to the lowlands, eating, sleeping, and learning alongside the last remaining artisans who still possess traditional craft secrets, acting as an extension of the traditional craft between tradition and modernity.

"We are trying to make dó paper a part of everyday life, as a natural element in the Vietnamese aesthetic sensibility," Nhung shared.

Unlike mass-produced industrial paper, dó paper is made through an elaborate, rigorous, and patient process. To produce a thin, lightweight yet durable sheet of paper, the craftsman must go through up to 35 main steps, taking 7 to 10 days of diligent labor.

After harvesting, the bark of the agarwood tree is cooked, soaked in lime, the black outer layer is peeled off, and then it is pounded into a fine powder by hand in a stone mortar. The agarwood powder must be carefully washed with clean water, filtered to remove impurities, and then rolled into sheets on a cloth mold. It is a harmonious blend of water and fire, of hands and patience, of nature and the soul of the papermaker.

Perhaps that is why, despite its fragility, dó paper possesses such remarkable vitality. Dong Ho paintings still retain their vibrant colors even after hundreds of years. Ancient proclamations, decrees, and documents written on dó paper can still be read perfectly today.

But then, as time passed, the craft of making dó paper seemed on the verge of disappearing. With the rise of industrialization, and the availability and affordability of machine-produced, pristine white paper, people gradually forgot about the simple, rough sheets of paper that took weeks to produce. Paper-making villages became increasingly scarce. The artisans grew older. Young people lost interest in the craft. And dó paper seemed destined to become a thing of the past.

Today's dó paper is no longer just for painting or calligraphy. It's a vibrant material for creativity. It's used to make postcards, notebooks, and wall hangings. It's found in handbags, hair accessories, and earrings. It's a delicate yet spirited paper being incorporated into contemporary fashion, interior design, and fine art. The combination of traditional craftsmanship and contemporary design thinking has allowed dó paper to transcend the rigid boundaries of preservation and become a vibrant material, possessing personality, artistry, and economic value.

The journey to revive dó paper is not easy. It requires time, effort, and faith in the enduring value of Vietnamese handicraft culture. But from the persistent efforts of Zó Project, from the resounding success of the Dó Paper Museum, and from hundreds of artists and designers who have chosen dó paper as a material symbol of creative spirit, it is clear that dó paper is making a comeback. Not as an exhibit, but to live, breathe, and thrive in a new context.

More than anything, this journey reminds us that heritage is not just old things preserved like treasures in glass cases. Heritage can and should be renewed every day through the hands, eyes, hearts, and imaginations of young people. Do paper, with its rustic material, rich cultural heritage, and remarkable adaptability, is a vivid testament to this.

If you've ever touched a piece of dó paper, you'll see its strange vitality – both fragile and resilient, poetic and real. You'll see the tiny fibers seemingly telling a story about the forest, the water, the fire, and the diligent craftsman. And then you might want to write something on that paper – not just a line of text, but your connection to a heritage that is reviving day by day.

Text and photos: Hoang Anh