- The Beverly Arts
- Jun 21
North American Merchant Recruitment for World Cup-Themed Products Officially Launches
Phoenix New Media North America representative and Xavvi president, Peter Wu
On June 16 (Beijing Time), Xavvi Holdings Inc., an overseas AI-driven operations company, officially signed a strategic cooperation memorandum with Phoenix New Media North America. The two parties will integrate their respective core technologies, media reach, and cross-border e-commerce resources to deeply cultivate the North American omni-media and cross-border consumer markets. By creating a new "AI technology + authoritative overseas media + cross-border e-commerce" ecosystem for global expansion, they aim to open up new growth channels for Chinese brands entering the North American market.
This signing marks a new collaborative landscape characterized by deep resource complementarity and mutual empowerment. Backed by the global brand reputation of Phoenix New Media, the North American channel possesses a comprehensive Chinese-English media matrix covering the region and has long served as a platform for telling China’s stories abroad and promoting domestic products and cultural tourism internationally. By partnering with Xavvi Holdings Inc., the channel has now established a complete operational chain for cross-border e-commerce, building an overseas online sales platform with broader reach and stronger conversion capabilities, thereby closing the gap between content dissemination and product monetization.
For Xavvi Holdings Inc., headquartered in Hollywood, Los Angeles, this partnership aligns its AI-driven omni-channel operations system with authoritative overseas media channels. The company’s core team possesses years of expertise in algorithm R&D, cross-border e-commerce, overseas markets, and blockchain technology, enabling full-chain automated operations through AI agents, digital avatars, and decentralized e-commerce technologies. Leveraging the global media influence of Phoenix New Media North America, the company’s AI influencer matrix, digital human livestreaming, and overseas brand promotion businesses will gain powerful traffic support, effectively combining technological strengths with media reach.
Under the cooperation plan, the two parties will jointly develop exclusive bilingual special features and an overseas social media matrix. Leveraging Phoenix New Media North America’s platform and IP resources, they will build a large-scale AI digital avatar system for virtual "artists." Through regular content creation, commercial endorsements, and cross-border livestreaming sales featuring AI digital humans, they aim to significantly reduce operational costs for brands expanding overseas, efficiently boost the exposure and sales of Chinese products and cultural tourism offerings in North America, and establish benchmark cases for the internationalization of Chinese brands. With the strategic partnership now in effect, the two parties are jointly launching a recruitment drive for high-quality domestic merchants to supply products related to the North American World Cup. The initiative focuses on a wide range of categories—including World Cup merchandise, sports equipment, fan apparel, event-themed creative products, and sports-lifestyle home goods—to curate an exclusive product catalog for overseas sales.
Merchants successfully selected for the catalog will benefit from a premium support package jointly offered by both parties. This includes comprehensive exposure across overseas social media and traffic networks, complemented by Xavvi’s mature AI digital human livestreaming, influencer-led sales, and end-to-end multilingual localization services, creating a seamless, one-stop gateway to North American online sales channels. By leveraging media traffic and intelligent operational systems, the partnership enables merchants to precisely reach vast North American consumer demographics, capitalize on World Cup-driven consumption, and unlock stable, long-term overseas revenue—offering a high-return, low-barrier pathway for Chinese brands to tap into the North American market.
Major Recruitment Drive: Call for North America World Cup-themed merchandise—join now to enjoy exclusive preferential policies
Industry insiders note that this powerful alliance between Xavvi Holdings Inc. and iFeng.com’s North America Channel breaks down traditional industry barriers—where overseas media typically focused solely on content promotion while cross-border e-commerce lacked authoritative media backing. By establishing an integrated model that combines content dissemination, brand building, and online sales, the partnership paves a new way for Chinese enterprises and cultural tourism projects to enter the North American market, further expanding the horizons for Chinese brands' global growth.
Undoubtedly, this collaboration creates a complete value chain—linking overseas media promotion, influencer-driven product discovery, and livestream e-commerce monetization—thereby overcoming the limitations of single-mode operations and opening up a new, high-conversion, and accessible pathway for domestic merchants to expand into North America.
Source: Xavvi
The Beverly Arts News is sponsored by Art Hearts Fashion, Mogo, MDSUN, Shennel Trading, XAVVI, ISEGSTAR, World Peace One, Crab Grabber, InLight Foundation, Jiannan Huang Art Institute, Yi Ke Art in Beverly, Wenkang Xue Design Studio, and The Beverly Arts Foundation
- The Beverly Arts
- Jun 12
Updated: Jun 20
Author: Mu Ye
Tiejun Li
Jinbaohui, Beijing, China. 8th April 2026. As the artistic wave of the 61st Venice Biennale sweeps across the European continent, the global art community gathers to use the language of the visual—amidst the collision of the figurative and the abstract, form and concept—to conduct a profound inquiry into human existence, the order of the times, and the value of truth. In this international event, which combines artistic excellence with intellectual acuity, artist Tiejun Li presents large-scale prints and mixed-media works, voicing a resounding, thunderous cry on the global stage through his unique artistic language. He appears as a Don Quixote of this new era—obsessively driven—and simultaneously as Zhong Kui, who paints cats to stand in for tigers, steadfastly upholding justice amidst the confusion of truth and illusion. Wielding his brush like a blade, he dissects the chaotic surface of the current international landscape, satirizing the opportunistic and sordid machinations of politicians and merchants while remaining true to his original commitment to peace and justice. Even more significant is how his work resonates with the millennia-long Western philosophical quest for truth, cognition, order, and morality—spanning from Bacon’s critique of cognitive idols to Hegel’s logical structure of the world, and from Kant’s moral categorical imperative to Spinoza’s concept of God as Nature. Using art as a medium, Tiejun Li fuses philosophical inquiry with social critique, allowing his works to transcend mere visual aesthetics and become a profound response to the era’s cognitive dilemmas, the collapse of values, and the breakdown of order.
Tiejun Li has never been an artist who drifts with the tide; his creative practice is deeply rooted in the times and confronts reality head-on. Possessing the clarity and unyielding integrity of an intellectual, he has forged a unique and inimitable path of artistic expression. The works presented at this Venice Biennale represent the culmination of his artistic philosophy and creative techniques. The massive scale of the artwork creates an overwhelming visual impact, mirroring the heavy sense of unease felt by the world amidst the current chaotic and disordered international landscape. The exquisite texture of the printmaking, combined with a diverse fusion of mixed media, transcends the traditional boundaries of the medium; artistic expression is no longer confined to mere color and line but rises to the level of a clash of concepts and a transmission of ideas. Eschewing the artificiality of labored craftsmanship, the colors strike a chord through their natural, unadorned quality—each hue carries emotion, and every brushstroke conveys an attitude—allowing the work to surpass mere aesthetic value and become a vessel for reflecting on the times and voicing a cry for justice. This depth of artistic expression aligns with the Western philosophical tradition of probing the layers of cognition, truth, and morality, endowing the work with an intellectual weight that transcends time and space.
Artwork by Tiejun Li
In Novum Organum, Francis Bacon identified four "Idols" that imprison the human mind—the Idols of the Tribe, the Cave, the Marketplace, and the Theatre—as the greatest obstacles to grasping truth and perceiving the true nature of the world. The Idols of the Tribe stem from the innate human tendency to subjectively distort reality; the Idols of the Cave arise from the narrow, one-sided nature of individual perception; the Idols of the Marketplace originate in the ambiguity and confusion of language; and the Idols of the Theatre represent blind adherence to established authority, dogma, and ideology. The chaos and disorder of today’s world are the bitter fruits of these four Idols running rampant: certain politicians and capitalists, driven by self-interest, construct false "theatres of authority" and use rhetoric to sow cognitive confusion akin to the Idols of the Marketplace. They amplify cognitive biases through racial and ideological prejudices, plunging the public into a fog of misunderstanding where the true nature of hegemonic struggles and opportunistic profiteering remains obscured. Justice and truth are hidden behind layers of illusion, while peace and conscience fall victim to the forces of capital and power. Tiejun Li’s artistic practice employs the visual as a weapon to puncture the illusory perceptions depicted by Bacon, strip away layers of hypocritical artifice, and expose the world’s raw ugliness and absurdity to the public, thereby awakening minds clouded by falsehoods.
Building upon the foundation of empiricism, Thomas Hobbes posited that human knowledge originates in sensory experience and is shaped into an understanding of the world through rational processing, while the construction of order stems from a shared recognition of common rules and values. In Hobbes’s framework, a world devoid of shared values and the constraints of order inevitably descends into a "war of all against all." The current international landscape bears out Hobbes’s warning: when politicians abandon the public conscience and business leaders disregard moral boundaries—shattering the global order in pursuit of self-interest—human society teeters on the brink of cognitive disorder and the collapse of values. Concepts such as knowledge, truth, and justice are distorted into mere tools for safeguarding private interests. Tiejun Li reconstructs cognition and order through painting, redefining the essence of justice and peace via visual language. He seeks to use the emotive power of art to rebuild values shattered by utilitarianism, allowing people to rediscover the meaning of justice and conscience; this constitutes both an artistic extension of and a real-world response to Hobbes’s theories of knowledge and order.
Venice, Italy
Spinoza’s philosophical proposition that "God is Nature" fuses the natural world with the divine, asserting the existence of objective, eternal natural laws and a just order that operate independently of human will. All things in the universe function in accordance with this ultimate law, and any act that violates natural law or disrupts the just order is ultimately rejected by the laws of the cosmos. In Spinoza’s philosophy, divinity is not an abstract, supernatural force, but rather the fairness, justice, and harmony inherent in nature itself—the ultimate values that human society ought to pursue. The Zhong Kui depicted by Tiejun Li serves as an artistic embodiment of Spinoza’s natural laws and just order; his mission is to vanquish demons and evil spirits, thereby safeguarding the natural harmony and equitable justice that ought to prevail in the world. The chaos of the present era represents, in essence, a reckless trampling of the ultimate laws inherent in the concept that "God is Nature"; Zhong Kui’s bewilderment mirrors the collective loss of values experienced by humanity after violating these laws of natural justice.
Leibniz’s proposition that "the world we inhabit is the best of all possible worlds" is not a blind affirmation of reality, but rather a firm belief that the world harbors an innate potential for perfection, harmony, and justice. Even the existence of evil and disorder constitutes merely localized fluctuations within the overall harmonious order; humanity’s mission is to dispel this chaos and strive to realize that ultimate harmony. Tiejun Li’s artistic practice is consistently imbued with this Leibnizian idealism: despite a contemporary world rife with conflict, hypocrisy, and the silencing of justice, he remains convinced that peace and justice constitute the ultimate destiny of human society. Like a steadfast idealist on a journey, he uses art to convey his aspirations for a better world; through critique and impassioned calls to action, he urges the world to cast off localized chaos and ugliness, moving instead toward that "best of all possible worlds"—filled with harmony and justice—envisioned by Leibniz.
Immanuel Kant’s moral philosophy defines the moral law as an a priori, absolute, and unconditional "categorical imperative." Independent of self-interest, emotion, or external circumstances, this imperative is an innate moral principle within the human heart—the ultimate standard for distinguishing right from wrong, good from evil, and justice from injustice. For Kant, true justice and goodness do not stem from utilitarian calculation but from absolute obedience to the moral imperative; it is the act of steadfastly upholding one’s inner moral conscience, even in the absence of supervision or amidst adversity. In contrast, certain contemporary politicians and business people have utterly abandoned Kant’s categorical imperative, placing self-interest above morality and treating justice merely as a tool for opportunism, thereby plunging human society into a crisis of moral decline. Tiejun Li's creative work serves as an artistic embodiment of Kant’s moral law; disregarding personal gain or loss and undaunted by power, he wields his paintbrush as a weapon to uphold his inner moral principles and the bottom line of justice. Through an artistic outcry, he vehemently denounces base acts that violate moral imperatives, calling upon humanity to reclaim its moral conscience and restore the "categorical imperative" as the guiding principle of conduct.
Venice, Italy
Hegel, centering his philosophy on the "Absolute Spirit," constructed a logical framework for the world, positing that the world is a process of the Absolute Spirit’s self-evolution and self-realization. He argued that history and society follow rigorous logical laws of development: justice will ultimately triumph over evil, chaos will give way to order, and human society—amidst contradictions and conflicts—continually evolves toward the ultimate goal of the Absolute Spirit. Hegel’s philosophy teaches us that the contemporary chaos and clash of values are inevitable contradictions within the world's logical development; the driving force behind resolving these contradictions and reconstructing order lies in those awakened individuals who steadfastly uphold truth and justice. Tiejun Li is precisely such an awakened figure within the context of Hegelian philosophy. Insightful regarding the logical laws of global development, he uses art as a point of entry to engage with the contradictions of the era and critique the ugliness of reality. In his own way, he advances the self-realization of the Absolute Spirit, helping a chaotic world return to the path of logic and order.
At the spiritual core of his work, Tiejun Li transforms into a Don Quixote of the new era. This state of "obsessive zeal"—bordering on the fanatical—represents an uncompromising stance against the chaos of reality and a tenacious commitment to the ideal of justice; it is, furthermore, an artistic enactment of the aforementioned philosophical ideas. Rather than shying away from reality or pandering to mundane aesthetics and the preferences of capital, he confronts the world's ugliness with the sincerity and courage of an artist. This seemingly obstinate "obsession" embodies the most precious sense of responsibility and commitment in contemporary art—an ultimate dedication to the original intent of art, philosophical truth, and human justice.
The figure of Zhong Kui—rendered with profound irony and wit—further elevates the work’s critique of the times and its philosophical inquiry to new depths. Traditionally, Zhong Kui is a deity from folklore who subdues demons and upholds justice—an embodiment of righteousness and integrity. Yet, in Tiejun Li’s artistic interpretation, the Zhong Kui of our times is mired in unprecedented confusion and inner conflict. He substitutes the tiger with the cat, using a playful approach to deconstruct authority and puncture the hypocritical masks of those who cloak themselves in righteousness while engaging in sordid deeds. He creates absurd scenes of "Zhong Kui playing with Zhong Kui," pitting the embodiment of justice against itself; this serves as a metaphor for the distortion and alienation of justice in the current international context, where those who proclaim themselves champions of justice and demon-slayers are often the very malevolent forces creating chaos and wreaking havoc on the world. In a reality where truth and falsehood are blurred and right and wrong are inverted, true justice finds itself with nowhere to anchor. This sense of bewilderment reflects both a profound insight into contemporary reality and a deep philosophical contemplation regarding the loss of truth, the erosion of morality, and the collapse of order.
Venice, Italy
As an artist who consistently engages with the times and delves deeply into both art theory and practice, Tiejun Li creates works that transcend mere visual presentation; they are expressions of thought and spirit—a perfect fusion of philosophical inquiry and artistic language. He understands that the essence of art lies in responding to reality, documenting the era, and—above all—safeguarding conscience and truth. On the international stage of the Venice Biennale, he neither panders to Western aesthetics nor settles for superficial stylistic expression. Instead, adopting the perspective of a Chinese artist with a global outlook, he confronts the shared existential dilemmas and philosophical questions facing humanity. Through works that blend an Eastern spiritual core with Western philosophical depth and a contemporary artistic vocabulary, he engages in a dialogue with the world and makes his voice heard in the present age. His art embodies both the idealistic edge of Don Quixote and the steadfast commitment to justice of Zhong Kui; it combines the critical force of wit and irony with profound humanistic concern. While his techniques break new ground—expanding the expressive boundaries of painting and mixed-media art—his ideas strike at the heart of the human condition, weaving Western philosophical inquiries into cognition, truth, morality, and order into a critique of reality and a pursuit of justice. In an era rife with chaos, where justice falls silent and perception is clouded by illusion, Tiejun Li stands as a solitary warrior. He uses art as a torch to illuminate the murkiness and his brush as a sword to shatter falsehoods. His work empowers contemporary art to confront reality directly, demonstrates the sense of responsibility and commitment held by Chinese artists, and serves as a spiritual bridge connecting philosophical truth with human reality.
The value of art has never been limited to beauty alone; it lies in awakening the times, safeguarding conscience, pursuing truth, and reconstructing order. Tiejun Li’s presentation at the Venice Biennale serves as a manifesto of justice through art—a powerful riposte to the world's chaos and a steadfast exploration of ultimate human values and philosophical truths. The Zhong Kui he depicts, though sometimes bewildered, never ceases the quest to vanquish evil; like Don Quixote, he runs with unwavering determination, never halting despite the absurdity of reality. This steadfast commitment to justice, yearning for peace, and pursuit of truth represents the very spiritual strength most scarce in today’s world—and constitutes the core of Tiejun Li’s work, giving it the power to move hearts and imbuing it with profound contemporary and philosophical significance.
May this impassioned call—raised in the name of art and infused with philosophical inquiry—awaken more consciences, shatter more cognitive illusions, restore moral law as the guiding principle of human conduct, and lead the world back to a just order of natural harmony. May it inspire us, amidst chaos and confusion, to ceaselessly pursue and move toward that best of all possible worlds. As for Tiejun Li—an artistic wayfarer steadfastly traversing the vast wilderness of the times—he will continue to wield his pen as a blade, art as a shield, and philosophy as his soul, pressing ever forward on the quest for justice, truth, and peace with undiminished vigor.
The Beverly Arts News is sponsored by Art Hearts Fashion, HuaXia Women's Association, MDSUN, XAVVI, Shennel Trading, Crab Grabber, ISEGSTAR, World Peace One, Chinese American Cultural Exchange Association, InLight Foundation, Jiannan Huang Art Institute, Yi Ke Art in Beverly, Wenkang Xue Design Studio, and The Beverly Arts Foundation
- The Beverly Arts
- Jun 9
Updated: Jun 20
Author: Xiaodong Wang
The design concepts and styles of Chinese and Western architectural interior spaces, influenced by history, culture, geography, and philosophy, have developed their own unique styles and characteristics. This article aims to explore the differences and commonalities between Chinese and Western architectural interior spaces through comparison and analysis, hoping to provide inspiration and reference for modern interior design.
Traditional Chinese Interior Architecture
I. Differences in Design Concepts Chinese Design Concept: Harmony between Man and Nature: Traditional Chinese architecture emphasizes harmonious coexistence with the natural environment, stressing the transparency and fluidity of interior spaces, pursuing a state of "though made by man, it seems to have been created by nature." Ritualistic Thought: Influenced by ancient rituals, the layout of Chinese architectural interior spaces is often rigorously symmetrical, reflecting the hierarchical system and social order. Creating Atmosphere: Through techniques such as borrowing scenery and contrasting views, rich visual layers and a sense of space are created, emphasizing the poetic expression and emotional connection of interior spaces. Western Design Concept: Rationalism: Western architectural interior space design emphasizes logic and functionality, focusing on formal beauty and proportional relationships, pursuing rational geometric compositions. Humanism: After the Renaissance, Western architecture began to focus on human needs and feelings, emphasizing individuality and free expression. Technological Application: With the development of technology, Western interior design places greater emphasis on material innovation and the use of technical means to achieve a more comfortable and convenient living environment.
Traditional Western Interior Architecture
II. Spatial Layout Characteristics Chinese Spatial Layout: Flexible and Versatile. Traditional Chinese architecture features flexible and varied interior spatial layouts, often using elements such as partitions and screens to divide space, creating a spatial effect that alternates between solid and void. Axial Symmetry: Large buildings such as palaces and temples typically employ axial symmetry to highlight the central position and project solemnity and majesty. Courtyard Combinations: Space is organized around courtyards, forming a spatial sequence with distinct interior and exterior areas, enhancing the sense of spatial hierarchy. Western Spatial Layout: Geometric Composition. Western interior spatial layouts emphasize the aesthetics of geometric composition, such as the use of shapes like circles, squares, and triangles, giving the space a clear sense of direction and rhythm. Functional Zoning: Space is divided into different functional areas according to usage needs, such as living rooms, bedrooms, and kitchens, achieving rational use of space. Openness and Sharing: Open layouts are increasingly popular in modern Western architecture, emphasizing spatial connectivity and interactivity to promote communication and interaction among family members.
Chinese interior architecture with screens as dividers of spatial elements
Western interior architecture with open layout design for spatial connectivity
III. Decorative Art Styles Chinese Decorative Art: Wood and Stone Carvings: Traditional Chinese architecture extensively utilizes wood and stone carvings in its interior spaces, featuring rich and diverse patterns with profound meanings. Calligraphy and Painting: Calligraphy and painting are important decorative elements in Chinese interior spaces, enhancing the cultural atmosphere and showcasing the homeowner's aesthetic taste. Color Scheme: Chinese interior design emphasizes harmonious and unified color schemes, often using basic tones like red, yellow, and blue for accents to create a warm and elegant atmosphere. Western Decorative Art: Sculptures and Murals: Sculptures and murals are common decorative elements in Western interior spaces, emphasizing three-dimensionality and light and shadow effects. Detail Treatment: Western interior design focuses on detail, striving for perfection in aspects such as the smoothness of lines, the texture of materials, and the refinement of furniture. Color Contrast: Western interior design features bold and unrestrained color schemes, skillfully using strong color contrasts to highlight the personality and vitality of the space.
Chinese interior modern architecture with cultural elements and unified color scheme
Western interior modern architecture with contemporary art and bold color scheme
IV. Summary and Outlook Significant differences exist between Chinese and Western architectural interior spaces in terms of design concepts, spatial layout, and decorative arts. However, in the context of globalization and increasingly frequent cultural exchanges, Chinese and Western architectural interior space design are constantly evolving through mutual learning and integration. In the future, with the continuous changes in people's aesthetic concepts and lifestyles, Chinese and Western architectural interior space design will place greater emphasis on personalized, diversified, and innovative development trends. By deeply studying the similarities and differences between Chinese and Western architectural interior spaces, we can better grasp the essence and characteristics of different cultures, providing richer sources of inspiration and design ideas for modern interior design. Simultaneously, it will also help promote global exchange and cooperation in architectural interior design, jointly advancing the progress and development of human civilization.
Note: All photos were AI generated by Sheri Determan
The Beverly Arts News is sponsored by Art Hearts Fashion, Chinese American Cultural Exchange Association, MDSUN, XAVVI, Shennel Trading, Crab Grabber, ISEGSTAR, World Peace One, Cynthia Clarté, InLight Foundation, Jiannan Huang Art Institute, Yi Ke Art in Beverly, Wenkang Xue Design Studio, and The Beverly Arts Foundation