Kesi is a special type of weaving peculiar to China. It is different from embroidery but rather similar to the making of tapestry.
It is done on a wooden handloom with raw silk as the warp and boiled-off silk as weft. The weft threads are usually of dozens of colors and are separately reeled in many small shuttles. First the artisan makes on the warp a sketchy drawing of the pattern to be woven and then guides a shuttle with the weft thread of a special color across the warp threads – almost never through the entire width but only where that particular color is needed. So, this is a form of weaving patch by patch. One could also say it represents an integration of the silk-weaving and painting. It is necessary to make frequent changes of the shuttles (i.d. threads of different colors), and a small piece of work requires thousands of changes to finish.
The art has its beginnings in the Han and Wei dynasties but blossomed during the Song (960-1279), producing a great master in Zhu Kerou. The art of kesi was introduced to japan during the Ming Dynasty (1368-1644). The belt of the Japanese kimono, which is woven in this way, is still called by the Japanese “Chinese Ming decorative belt”.
As far back as the ancient Greeks, 
Renaissance tapestry, on the other hand evolved later on with completely opposite views.
Between the 
Woven tapestry art is one of the most effective forms of literary expression the world has ever known. 
Jean Lurçat (1892-1966), who directed his energy into promoting 
This is the technique used most frequently for the flat-woven rugs and hangings called “kilims”. This technique is also used for 
Natural dyes from plants were the only dyes used until the 19th century; they produce attractive shades and, have good fastness characteristics and to light, if properly cared for.
Tapestries were ubiquitous in the castles and churches of the late medieval and Renaissance eras. At a practical level, they provided a form of insulation and decoration that could be easily transported. In addition, the process of tapestry weaving, where every stitch is placed by hand, enabled the creation of complex images on an enormous scale. 
Storing tapestries properly is vitally important; many historic tapestries have suffered through being put away and forgotten in basements and cellars. Hangings, fragments and upholstery covers can be stored safely on open shelves, lined with acid-free paper or in large acid-free boxes, and covered with dust sheets.