清華學人中，頗有一些能書善書而享有盛譽者。如梁啟超對“二王”和北碑均用力極深，形成了碑帖融鑄的書法風貌；商承祚的集甲骨文則是將新出土的考古材料運用到書法創作中的積極實踐；陸維釗晚年書法卓絕，自成一體，溶篆、隸、草於一爐，圓熟而精湛，凝練而流動；唐蘭的鐘鼎、篆書、行書、楷書之作無一不精，最為精到者當屬行楷；俞平伯的小楷風神瀟灑、毓秀奪人，最為書家稱道。他們均可稱是二十世紀當之無愧的書法大家。而另外一些學者，哪怕是理工科學子、教授，雖未專務於書，亦大都寫得一手漂亮好字。不僅如此，清華學人在對書法藝術性的理解和在理論上的闡述，也是具有開創性和引領性的。

Quite a few Tsinghua scholars also excelled in calligraphy. Liang Qichao, for example, studied the style of the “Two Wangs” and that of the Northern Inscriptions, to merge them into a harmonious whole in his own calligraphic style; Shang Chengzuo’s style of oracle bone inscriptions resulted from his applying archaeological findings to his calligraphy; Lu Weizhao’s calligraphy reached a high level of excellence, combining the seal’s, clerical and cursive scripts, in a style that was practiced and consummate, concise and fluent; Tang Lan was accomplished in many scripts, such as bronze inscriptions, seal’s script, semi-cursive script, regular script, and cursive-regular script; Yu Pingbo developed a regular script in small characters, known for being natural and unrestrained, refined and impressive. All of them fully deserve the title of calligraphy master in the twentieth century, without detracting from the calligraphy of other Tsinghua academic who focused less on calligraphy. Finally, Tsinghua scholars were also the pioneers and guides in the theory and aesthetics of calligraphy.