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”.
Renaissance tapestry, on the other hand evolved later on with completely opposite views.
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. 
Today’s 
Different techniques work for different types of designs. For example, the technique called vertical slit (where the weft threads meet and separate in opposite directions) is useful for shading, while slit tapestry technique (where weft threads do not share a warp thread as they turn) will give a sharp line of color change. Diagonal slit tapestry (where the slit caused by meeting weft threads is on an angle) is useful for building shapes.
Through a description of a nun’s belongings and equipment from the end of the 15th century we know that a rya, a long-pile knotted rug, was included in the bedclothes. Thus from the beginning it had a purely practical character and was used as a bedcover with the pile side downwards. Even when the rya obtained some degree of 
The Bayeux tapestry, probably made in England around 1070 is considered to be the most distinguished example of preserved textile pictorial art from Norman times.
I design tapestries and hand-weave them on vertical looms in my