Abstract: In the history of Chinese and Western visual thought，“imagery appeal”has been a meaningful but often neglected topic.“Imagery appeal”，meaning the breaking and crossing of the image fame，originates from the setting of the frame；Chinese and Western frames are clearly different，influenced by totally different space- time and philosophical views.“Imagery appeal”is divided into four types：aesthetic，direct，suggestive，and empathetic. It can be said that the history of human imagery art is the history of continuously breaking the frames and reinforcing the appeal，which is backed up by the rapid development image-making technologies and also by，the most fundamental impetus，people’s religious，political，ommercial，and aesthetical ideological need. The realization of“imagery appeal”，which is an imagery act and a major presentation of image’s subjectivity，relies on the communication between the image and the viewers；the process is quite“intricate”. In this“intricate”process，a great appealing image often gets the viewer into it and entranced，creating a brand- new artistic conception and new personality of the viewer. Further more，“imagery appeal”fits in Althusser’s ideological mechanism and has become a form of ideological interpellation into the details of the“subject”.

Key words: image；“imagery appeal”, imagery action；ideology interpellation, reception aesthetics, image technology