I rely on the researches of Dieter and Reinhold Schletzer in their book Old Silver Jewellery of the Turkoman. I am not a silversmith, nor do I even know one. But their book is rich in explanations of the physical methods of making the Turkoman jewelry and in interpreting the traditional symbols in the ornamentation.
Those of you familiar with embossing metal will recognize the repousse or chased technique used in the guljaka or collar button (large!) of the Yomud woman in this photo:
The designs themselves are traditional and used over and over again in the Yomud ornamental style. They are dotted floral abstractions and strictly numbered sets of jewels and symbols. On this piece there are double sets of 12 floral patterns each. You can count them around the scalloped edge of the round guljaka. The outside set has two embossed flowers; the inside set of 12 has one larger embossed dotted flower between each glass jewel.
Around the central green glass jewel, there are double sets of 12 ancestor symbols, the abstraction of a mountain sheep head, used everywhere in Turkoman jewelry, on their tent hangings, in their carpets, on their outdoor clay brick ovens, on the entry to their homes. The symbols are arranged facing each other with the inside circle of twelve ram heads being smaller than the outer ring of ram head ancestor symbols.
The jewels are made of green, red and blue glass cabochons. The central jewel is molded glass in a kind of baroque faceted pyramid or mountain shape, also significant to the Turkmen people, as they memorialize their origin in the Altai Mountains in their ornamentation.
The patterns that you see in the embossed face of the gilded guljaka would have been pounced into the gilded silver or chased into it with a stylus from a highly polished brass template such as the one in the photo below:
The five old turquoise gems have changed color as it does with time and exposure to the elements. This designer, gilder and silversmith in the Western Yomud tribe was not as rigidly traditional in his patterns as he might have been. Five turquoise gems is not divisible by four, as tradition would require. You will note that there are eight dotted floral figures and eight ram heads placed symmetrically around the gems. In that at least the designer was holding to tradition. But he parts with the rules again when he places two repousse flowers and two abstractions of flowers above the prayer box or açar - bag.
A very similar prayer box of the Western Yomud tribe is shown on page 107, plate 39 in Dieter and Reinhold Schletzer's Old Silver Jewellery of the Turkoman. There the açar - bag has three glass gems on the gilded face of the box, while the fourth sits atop the box with four matching symbols of dotted floral abstractions.