Parfleche is the French name for the Plains peoples’ hoemskot ‘eo—an envelopeshaped rawhide container for storing clothes, food, and personal items. The parfleche served not only as a practical and durable storage solution, but also as a decorative object of spiritual significance. Among certain tribes, most notably the Cheyenne and Arapaho, parfleches were decorated by the women’s painting society, whose members among the Cheyenne were known as moneneheo, the Selected Ones. Although similar in their economic and social importance to craftsmen’s guilds in medieval and Renaissance Western Europe, the painting society also had a spiritual or religious nature. The shamanistic society required application for admission and held its members to high artistic and moral standards. The society further displayed its importance by defining aspects of Cheyenne wealth and status.
Painting on rawhide was fraught with challenges. If painting was attempted while the prepared hide was too moist, the applied paint bled, but if the hide was too dry, the skin did not absorb the pigments. This restricted the time frame in which painting could best be completed, which meant that designs had to be visualizedfully before the work started. Moreover, every aspect of creating a parfleche was a sacred act. Each design element, for instance, was a syntagma—a linguistic or visual unit intended to convey meaning—freighted with symbolic referents. For example, diamond shapes represented the ha ‘kot, the grasshopper, an abundant grass eater itself symbolic of the bison, the sacred source of food, shelter, tools, and clothing. The tools used were also symbolic: The shape of the “flesher” used to prepare the hide represented lightning bolts—emblematic of the masculine essence of spirit. The flesher removed the flesh from the hide, transforming it into a spiritual container that would hold earthly matter (the people’s material goods).
Even the position of the parfleche in the lodge held symbolic significance. It was stored beneath the bed of older women, not only because they were careful guardians, but also because they were closer to Grandmother Earth, from whose union with the lightning spirit the animals and plants of the middle world came to provide food and shelter. The symbolism of every aspect of the parfleche, therefore, from the interpretable design work on its outside to its storage place within the lodge, reflects the Cheyenne belief in a complementary worldview: the blending of the masculine spirit and the feminine physical matter.
Q1). According to the passage, one reason why there was a limited time frame in which to paint a prepared rawhide was thatA) the pigments dried quickly and thus had to be applied with speed to avoidcracking.
B) if the hide was too dry, it absorbed too much paint.
C) if the hide was too moist, it rejected the pigments.
D) the designs had to be fully visualized before painting was started.
E) if the hide was too moist, the paint bled.
Q2). The main purpose of the passage is toA) describe a tool used among Native Americans when working with rawhide.
B) rebut a commonly held view about the symbolism of the parfleche for the Plains peoples.
C) analyze the societies of the Cheyenne and Arapaho people.
D) propose a new method for analyzing the use of symbolism in Native American art.
E) discuss the spiritual and symbolic importance of a rawhide container and its decorations to several Plains tribes.
Q3). According to the author, the Cheyenne women’s painting society was unlike Western European guilds of the Middle Ages and the Renaissance in thatA) application for membership was required.
B) the group had significant economic standing in the community.
C) the group had significant social standing in the community.
D) the women’s painting society was religious in nature.
E) the society had an influence on social standing and material valuation.
Q4). You can most reasonably conclude that the Cheyenne definition of the term moneneheo reflectsA) the high status some women enjoyed as artists in Cheyenne culture.
B) the shamanistic spiritual origins of the women’s painting society.
C) the notion that artists were chosen by the gods to perform their tasks.
D) the self-restrictive nature of the women’s painting society.
E) a woman’s skill in using rawhide tools such as the “flesher.”
Q5). The author describes the symbolic meanings of the diamond shape most likely in order toA) indicate how precious the completed parfleche was to its owner.
B) prove that the grasshopper was superior to the bison in Cheyenne religion.
C) illustrate the visual complexity of the abstract forms used in creating a parfleche.
D) provide an example of the many layers of symbolism involved in creating a parfleche.
E) demonstrate the relationship between the symbolic shapes of the tools and the abstract designs used in creating a parfleche.