上世纪60年代以前,中国“连坛”的绘画手法基本上还是几十年一贯制的传统白描,无论古代和现代题材,大都如此。这当然与连环画读者的审美需求有关,对于一般读者来说,看小人书,犹如听人讲故事,知其故事大概,也就行了,如若讲得生动易懂,当然更好,至于用何种技法来讲,并不苛求。因而,虽然也有过上海画家顾炳鑫等先生那样的探索新的绘画形式,而且受到业内人士好评,终究是影响有限。读者审美需求与文化素质的提高往往同步,60年代初,经过了“大跃进” Before the 60s of last century, the painting techniques of China with “Lian Tan” were basically still traditional white sketches for decades, both in ancient and modern themes. Of course, this is related to the aesthetic needs of the comic readers. For the average reader, reading the comic book is like listening to a storyteller and knowing its story, so it is better to speak vividly. Of course, what is the use? In terms of techniques, not demanding. Therefore, although there have also been new artists like Shanghai artist Gu Bingxin who explored new forms of painting and were well received by professionals in the industry, after all they have had a limited impact. Readers aesthetic needs and improve the quality of education is often synchronized, the early 60s, after the “Great Leap Forward”