Li tian fireworks biography books
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Making a Spectacle 1: History of Fireworks
September 11, 2014 at 8:10 pm | Posted in Culture, History, Religion, Society, Special Occasions, War and Conflict, Ways of Living | Leave a commentTags: alchemists, chemicals in fireworks, Chinese invention, firecrackers, fireworks, fireworks in celebrations, Li Tian
Bamboo Bangs
Fireworks of a kind were used in China over 2,000 years ago, well before the discovery of gunpowder.
These early ‘fireworks’ consisted of green bamboo thrown onto a fire. As air pockets inside the bamboo heated, they exploded, creating a frightening noise. They were used to scare away bad spirits, and it became part of a ritual to scare away the evil spirit Nian at the start of each new year.
Gradually, the green bamboo bangs because part of other celebrations like births, weddings and coronations. They were used thus for the next thousand years.
Invention of Gunpowder
There are several references to a Chinese monk named Li Tian, who lived ne
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Liuyang fireworks
Liuyang fireworks, a specialty of Liuyang City in Hunan Province, People's Republic of China, includes firecrackers and fireworks, with a history dating back to the Tang dynasties and Song dynasties.[1] Its production skills were selected into the first batch of China's national intangible cultural heritage representative projects list.[1]
Feature
[edit]The production of Liuyang fireworks uses traditional handcraft techniques, utilizing locally sourced materials such as paper, saltpeter, sulfur, charcoal, and red and vit clay. The process involves 12 steps and 72 procedures. With advancements in modern technology, new safe, eco-friendly products have been developed, including smokeless fireworks, cold light fireworks, daytime fireworks, and indoor or stage fireworks, achieving world-class standards. Additionally, ignition methods have evolved from traditional manual lighting to remote-controlled systems, with firing sequences fully ma
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The Invention of Fireworks
The Invention of Fireworks is Beatrice Garland’s first full collection, although she already has an impressive publishing history. As well as new verses, this volume contains poems previously published in the London Magazine, Rialto, The Spectator and P.N.Review and other pieces included in anthologies of new poetry by Faber (1998), Carcanet (2007) and The Shuffle (2009).
From the very first poem in this slender selection we encounter what later proves to be Garland’s typical style of expression. Descriptions in her poems are beautiful and vivid, with vowels that roll softly off the tongue and capture the imagination. She uses strong visual imagery where animals, people and things materialize from between the lines:
I saw a musk-rat nose across a pond,
Nudging the reeds apart without a sound.I saw a spider, touched by a note of sun,
shake out its net, bouncing it up and down.
Garland’s verses evoke tactile sensations which make us want