談到于右任詩書成就，近代書家皆望塵莫及，其為「桂冠詩人」之代表人物，亦有「曠代草聖」之美名，可見其在台灣早期詩壇或書壇，均佔舉足輕重之地位。然吾人研究于右任書法的同時，往往僅止於其書法因緣之探索，而在其書學理論不成系統之情況下，加上于右任又將書法視之為餘事，故僅從其書學淵源探析，實難以發現其真正之創作精神。故筆者以為如能從其詩歌內容分析其審美觀點與創作精神，將有助於吾人探求其書法藝術創作之精神。
自古文人詩、書本同源，同為文人抒懷遣性之方式，其審美創作之觀點當有共通處，此從西方格式塔「異質同構」之論點即可證明。故本文透過于右任詩歌時空觀之探析，爬梳整理其時空觀特色，並以此依據以檢視其書法時空之美，以探尋其背地裏之創作因緣。

When talking about the achievements of Yu You-Ren’s poems and calligraphic arts, none of the calligraphers can match with him. He is a major representative of “the poet laureate” and is famous for his cursive style of calligraphy. During the early period of Taiwan, Yu You-Ren had possessed an outstanding status in the poetic and calligraphic world. However, when we study Yu You-Ren’s calligraphy, we only limit our exploration in his learning processes of calligraphy. Due to the lack of the systematic theory in his poems and calligraphic arts, plus Yu You-Ren regards calligraphy as a trivial matter in his daily life, we hardly find his true creation spirit through the original analysis of his poems and calligraphic arts. Consequently, I think that actually we can find Yu’s aesthetic viewpoints and his creation spirits through the analysis of his poems, which will help me understand more of Yu’s creative processes and spirits.
From the ancient time, poetry and calligraphy always come from the same origin and both of them are the ways that literal writers have been using to express their feelings and viewpoints. Therefore, their ways of aesthetic viewpoints must have a lot in common.The argument of “ Isomorphism” can be proved from the western theory called Gestalt, which
refers that although the appearances of the two pieces of art are different, there exist the same inner feelings in both of them. Therefore, from the analysis of Yu You-Ren’s views on time and space in his poetry, we can discover his characteristics of aesthetic viewpoints and creative spirits. Based on this discovery, we can inspect the beauty of his calligraphy and inquire more about his creative spirits.