The revival of folk handicraft in the Ming Dynasty injected new vitality into tile technique and production of embroidery. Individuals and households talented in embroidery became famous for their crafts, and both tile demand and usage of embroidery increased. Practical embroidery pieces became better in quality, finer in material, and more skilled in techniques. In the Ming and later Qing Dynasties, embroidery reached its peak in popularity. In the two 
hundred plus years of the Qing Dynasty, local schools of embroidery appeared like bamboo shoots after the rain, the most famous being Suzhou, Guangdong, Sichuan, Hunan, Beijing and Shandong schools. In addition to their local flavors these schools all borrowed from other ethnic cultures.
Today, fashion comes and goes, and machines have replaced the human hand in many ways. Fortunately, the art and craft of embroidery have been preserved as China's great cultural heritage. Besides the local embroidery schools, many ethnic minority people have their own beautiful embroidery, such as the Uygur, the Yi, the Dai, the Bouyi, the Kazak, the Yao, the Miao, the Tujia, the Jingpo, the Dong, the Bai, the Zhuang, the Mongolian, and the Tibetan people. Embroidery is not only found in garments and home furnishings, but also exists on their own a unique art form that has incorporated the character of Chinese painting and calligraphy.
