This Beshir prayer rug shows a number of interesting design variations when compared to most of the other rugs in the group. The origins of the design itself have been discussed at length elsewhere. The most obvious variation is the inversion of the floral motifs. While almost all the other prayer rugs of the group have plants the correct way up, one other exception is found in the Museum of Ethnography, Leningrad, inv. no. 37-17, (Tzareva, no.101, p.150, photo inverted). It probably ocurred due to confusion with the other main floral motif found on these rugs. This, the pomegranite tree, has inverted fruit which in some rugs is interpreted as inverted separate small plants, (Tzareva, no.100, p.149)
The relationship between the field, the mihrab panel and the lower re-entry panel is confused in a number of rugs of this group. On our example it is the mihrab panel that has the full kotchak motif filling the arch. The re-entry panel has the "head and shoulder design" more usually found on the main field, (cf. Mackie and Thompson, pl.95, p.187 and Reed, pl.43, p.47). The kotchak on top of the "head" is almost an apology for the motif; hardly the symbol of virility from which it derives.

Mackie, L. and Thompson, J.: Turkmen Tribal Carpets and Traditions, Washington, D.C., 1980.
Reed, C.D.: Turkoman Rugs, Cambridge, Mass., 1966
Tzareva, E.: Rugs and Carpets from Central Asia, Leningrad, 1984