Beyond the documentary trail of chronicle and penitential, some scholars of Slavic folklore, most influentially the Soviet archaeologist Boris Rybakov, have argued that Mokosh survives visually in a recurring motif found in traditional Russian folk embroidery and woven textiles collected from villages across the nineteenth and early twentieth centuries: a central female figure, often shown with raised arms, flanked by two mounted riders or birds, worked into ritual towels, wedding cloths and other textiles connected with the agricultural calendar and women's domestic and ceremonial life.
Rybakov and scholars following him proposed reading this widespread compositional pattern as a folk memory of Mokosh presiding over the turning agricultural year, her raised arms invoking blessing or fertility, and the flanking riders standing in for the daylight and seasonal forces she governs, an interpretation that draws heavily on comparative Indo-European goddess iconography and on the ethnographic context of textiles that were, in fact, primarily made and used by women, matching Mokosh's own documented association with women's domestic work. This reading remains an interpretation of much later folk material projected backward rather than a documented continuity traceable step by step from the tenth century to the nineteenth, and specialists differ on how much confidence it deserves, since the embroidery is undated in any individual case and the motif could equally reflect general Eurasian textile conventions unconnected to any named deity. It stands, nonetheless, as one of the more visually evocative, if contested, pieces of evidence regularly cited for Mokosh's long folk afterlife among Slavic peasant women, long after her name had formally vanished from religious life.