国学大师王国维先生对文学创作曾有宏论：文学作品中的景物描写分为“无我之景”和“有我之景”。“有我之景处处皆著我之色”句句景语皆情语。因此“有我之景”总是高于“无我之景”。艺术创作总是相通的，艺术家周钲清《随风而逝》系列绘画作品以它特有的绘画主题和语言，形象而有机地印证了王国维先生精辟的论述。

　　周钲清的风景题材作品，不满足于纯粹的写生式绘画，他以浓重的笔触和流畅的线条，对画面整体的营造，创作一种属于自己的语言特点，以干净抽象的笔触和不断变幻的形式效果诉说着自己对人生的感悟，心灵的净化，和对大自然虔诚的膜拜。

　　周钲清的作品是他内心的写照。他把西方油画的表现方式和东方绘画的意蕴相结合，娴熟准确的造型，流畅含蓄的描绘，微观而又豪迈的艺术视野，唯美的艺术追求，让他的作品具有了更多需求解读的元素。

　　周钲清的作品是有灵气的。他偏爱用淡雅的笔调将画中的物象退入朦胧之中，表现现实之外的静谧。宁静与休息，表现一种怀乡的情思，灵魂修炼的体验。

　　柔软的风，吹拂着我，吹拂着你，吹拂着他。思绪随风而逝，美却是永恒的。

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　王煜
　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　2011年圣诞节

                                    Preface
　　Mr. Wang Guowei, master of Chinese culture, voiced his intelligent view on literature as follows: scenery description in literature works falls into the following two kinds -----“me in the scenery” and “me out of the scenery”.  “ ‘Me in the scenery’ means I leave my marks everywhere in scenery” , which equals to “each of my scenery language is the expression of my feelings”. Therefore, “me in the scenery” attains a higher level than “me out of scenery”. More often than not, the production of artistic pieces is somehow interlinked. With their distinctive subject and painting language, Gone with the Wind, a series of painting works made by oil painting artist Zhou Zhengqing, provides a vivid and indispensible support for Mr. Wan Guowei’s brilliant exposition.

　　Not being satisfied with painting-from-life style, and , by the use of thick strokes and smooth lines to construct the whole picture, Zhou Zhengqing expresses his unique painting language with an aim to present the landscape painting works of his own. The simple but abstract strokes and the constantly changing forms tell of his insight into life, his spiritual purification, and his devout worship of nature.

　　Zhou Zhengqing’s works serve as a reflection of his inside. He combines the expression skills of western oil paintings with the artistic implication of eastern drawings. The skillful and appropriate design, the smooth and implicit description, the microcosmic and bold artistic horizon, the aesthetic art pursuit, all these supply his works with more elements, which need further interpretation.
Zhou Zhengqing’s works lack no spirit. He tends to use quietly elegant strokes so as to make the objects in the picture retreated to the indistinctive. In this way, the tranquility out of reality may be served. Serenity and relaxation, the expression of nostalgic sentiment, go along with the experience of spiritual cultivation.

　　A soft wind is blowing, the feel of touch across you, him and me. The train of thought has Gone with the Wind, but eternal is beauty.
                                                        

　　　　　　　　　　　　　　　　　　　　　　　　　　　 Wang Yu
                                                      　　　　　　　　　　　　on Christmas,  2011