Here is my google image search results. It says Turkish Kilim rug. It’s the exact rug from the stores FB page.
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You know, I kind of wondered about that, but I thought no, I don’t know anything about Turkish rugs 
I think you might have found the answer.
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Thank you @Patina I saw the snakes but am not a huge fan of them. But did like the rug.
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You could always imagine that they’re tadpoles with really long tails 
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Are you saying the snake rug is an awesome rug or the one in the photo with the weaver that I’m hopeful is still at the store?
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That’s an idea! I don’t mind tadpoles.
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Both, really, but I was referring to the Turkish(?) rug.
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Thank you for clarifying this for me!
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I’m chuckling at the kid peeking around the side of the rug.
My hubby just got home, and I showed him the rug. He about choked at that great price. He said even a machine made nice rug that size would probably cost around 500.00!
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I didn’t even see that youngin’!
Hoping the rug is still there in the morning!
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Here are a few other things to throw in the mix…
One of my favorites in my library is the 1943 folio Where the Two Came to Their Father; A Navaho War Ceremonial by Maude Oakes & Jeff King and its accompanying booklet of text by mythologist Joseph Campbell.
The legend recounts the birth of twin heroes Monster Slayer and Child Born of Water and their quest to find their supernatural Father in the House of the Sun, from which they returned to earth stronger and wiser. The story speaks not only to creation, but also to kindness, death, and deception. The ritual that embodies the story imparts a divine sense of power to the warrior. Dating back several hundred years, the nine-day, nine-night ceremony was performed by medicine men to prepare those going to war and those left behind.
In the folio, plate XV, XVl, XVll, and XVlll are titled Big Bear Painting, Big Snake Painting, Big Thunder Painting, and Big Wind Painting respectively.
XV
XVl
XVll
XVlll
From Joseph Campbell’s commentary concerning these four paintings.
In the middle is the ceremonial basket. The opening in the basket always faces east, to allow the spirit of the basket to come and go. The circle-and-cross design on the basket is made in pollen and represents the movements of the singer during the ceremony. The east west arm of the cross represents the journey of the singer to the ceremonial hogan, and his return to his home. The south-north arm represents his trip across the ceremonial hogan to give medicine to the patient, and his return to his seat. The sunwise circle is the ceremonial hogan. The rectangle itself is the Navaho universe. The crosses are stars. The four semicircles are the strength given off by the stars. The Big Bears, Big Snakes, Big Thunders and Big Winds are guardians of the Sun’s House. From the cast the patient walks onto the square. He stands on the first cross, and prayers are said; on the second cross, more prayers are said. Next, with one foot on each cross, he faces the east and the ceremonial basket. The singer hands him the basket. Prayers are said and songs are sung
If painting 15 is used, the prayers are directed first to the Black Bear, then the Blue, the Yellow, and the White. Following the prayers to the Bear come those to Big Snake, Big Thunder, and Big Wind. If painting 16 is used, prayers begin to Big Snake, then follow Bear, Thunder, and Wind. Similarly, if painting 17 is used, the series begins with Thunder, and if painting 18, with Wind. The painting given always designates the order of the prayers.
Jeff King said: ""There should be five bears, but I always keep one for myself, for protection.
“These four paintings are given for young men about to go to war for the first time They are given at dawn.”
The weaving that @TAH shared resembles Navajo memory aids, to me. For any that don’t know, memory aids were often sketched on leather or cloth and kept by the Medicine Men as visual aids to accurately recall complex sandpaintings. With sandpaintings being ephemeral, the aids served as something they could refer back to. Contemporary recreations by the famed Hathale family can be seen below, executed with pigments on muslin.
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Note that the AI is showing you (circled in yellow) the FB page itself where they were hawking this rug, not that it is in fact sourced back to similar-looking Turkish kilims. Yes there are motifs and colors in common with the Turkish work, but that’s true for some authentic Navajo rugs, owing to traders’ influence on Navajo weavings. Kilims have a very different weave compared to most Navajo loomed pieces, with slits in them between adjoining colors, which you can see and feel by hand.
I’m not saying the faux Navajo for sure isn’t a kilim but a close look at it would reveal a different technique. Of course there are other sources of non-authentic Navajo style weavings.
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Excellent post, Aaron. That was an enjoyable read.
This caught my eye…
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Glad to share, Tom. 
I had to preface my post with all of the info to provide some context, but Plate XVl, Big Snakes, was my main intent to share, as it pertains to the iconography on @here4turquoise’s originally posted rug. 
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Thank you for this information. I am not on fb so this is something I wouldn’t see.
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I don’t have a FB account either. I ran across the conversation in a google search.
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Thank you @Ravenscry for this information. I really enjoy learning from knowledgeable members. You are one that is always helpful.
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Thank you @chicfarmer for weighing in on the snake rug. I appreciate you taking time to reply!
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I wouldn’t consider myself knowledgeable, @here4turquoise, I just thoroughly enjoy sharing and conversing with passionate individuals. Like yourself.
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