The first exhibit, "The Ancient Chinese Art of Flower Arrangement," was in preparation for a year. It opened in the chill of early spring, bringing the flowers captured in ancient Chinese paintings and books to life. The work paid off in waves of delighted visitors.

Thereafter the themes have included "Chinese Flower Arrangement for Seasonal Events," "Court Arrangements and Tea Arrangements," and "The Six Major Vessel Shapes," each in turn introducing an ever deeper layer of knowledge to onlookers.

However, this year's theme--kao-ch?-t'i (literally "high seated form") and kao-wu-t'i (literally "tall rigid form")--left people scratching their heads. Add to this that the media got the name confused so that people found its meaning even more unfathomable.

"These are just two basic forms for traditional flower arrangement," explains Huang Yung-ch'uan, a research associate at the history museum and a behind-the-scenes player in organizing the exhibitions. The organizers deduced the forms from ancient materials and arranged examples to introduce them; this also gives people a broader base and more space to create when they try their own hands at arranging.

Generally speaking, the structure of traditional Chinese arranging can be divided into three parts: "master," "guest," and "servant" components. The style of the arrangement is determined by how the creator handles the relationship among these parts. The main element is naturally the "master" flower; its color, height, and shape are decisive.

"The theory behind traditional flower arranging is really very 'personified,'" continues Huang Yung-ch'uan. The master flower's blossom is like the head. When a person sits cross-legged, the head accounts for one third of the height. Related to flowers, the most common traditional form has the master blossom account for one-third of the height. It is often called "three heads" style, or the p'an-ch?-t'i (literally "cross-legged master form"). This form is very stable and safe; it was the mainstream in the peaceful early Tang, Sung, and early Ching dynasties.

Based on this standard, if the master flower accounts for one-fifth the work's height, this is like a person sitting upright. The master flower sits up, looking down; it is called the "five heads" or kao-ch?-t'i style. This style uses long-stemmed flowers like chrysanthemums or lilies as the master. Guests and servants stand in height at a ratio of 3:7, all standing proudly high and low, yet without losing symmetry, creating a different feel from the flowing, lively "three heads" style.

As for the kao-wu-t'i style, it is like a person standing, with the head one-seventh of the height, and is called "seven heads." Long-stemmed flowers like sunflowers or cherry blossoms serve as master. When arranged, the guests and servants stand in a ratio of 5:7. The overall arrangement is soaring, nimble, and shapely.

From the historical point of view, the kao-ch?-t'i and kao-wu-t'i styles are relative latecomers. Huang Yung-ch'uan believes that, aside from the evolution of views and creativity of cultured persons in the past, their appearance is closely connected to the technological development of vessels for the flowers. Before the Sung, despite the appearance of "lotus" bases (with holes to set flowers in), it was hard to depart from simply using tall vases to display long-stemmed flowers. After the Yuan dynasty appeared the "sword mountain" base (made of tightly packed studs), expanding the possibilities.

And choosing this latecomer style for this year's exhibit has its creative meaning as well. Looking back over five years, the Women's Garden and Art Club has made great strides, moving from spreading the concepts behind the art to adopting the form for practical use, going from a one-story display area to two, and departing from simply copying the arrangements in old paintings to this year's 300-item "free creation" exhibit.

This year, there was a noticeable increase in participation by men. In fact, only when people realize that flower arranging is not simply a way for wealthy women to show their "talent," and are able to really invest their feeling in the art form itself, can it really be said that we are the heirs to the humanistic spirit of traditional Chinese flower arranging.

[Picture Caption]

In this year's Flower Day exhibition, Mrs. Yu Toong Metsung, President o f the ROC Women's Art and Garden Club, introduces traditional Chinese flower arranging to foreign guests.

Long-stemmed flower arranging before the Ming Dynasty, because of technological limitations, mostly was limited to using vases.

This was the mainstream of classical flower placement--the safe and stable p'an-ch?-t'i form.

The theory of flower arranging is very personified; the placement of the master flower and the ratio in height of the flowers is likened to that between a person's head and body in various positions.

(left) Title: "Clear Radiance". Vessel: basket. Style: kao-wu-t'i. (right) Title: "Standing". Vessel: deformed porcelain vase. Style: kao-wu-t'i.

Title: "Spring Is Here". Vessel: Two-handled vase. Style: kao-wu-t'i.

(left) Style: kao-ch?-t'i. (middle) Style: kao-wu-t'i. (right) Style: kao-wu-t'i.

Style: kao-wu-t'i.

(left) Style: kao-wu-t'i.

(right) Style: kao-wu-t'i.

Long-stemmed flower arranging before the Ming Dynasty, because of technological limitations, mostly was limited to using vases.

This was the mainstream of classical flower placement--the safe and stable p'an-ch?-t'i form.

The theory of flower arranging is very personified; the placement of the master flower and the ratio in height of the flowers is likened to that between a person's head and body in various positions.

The theory of flower arranging is very personified; the placement of the master flower and the ratio in height of the flowers is likened to that between a person's head and body in various positions.

（left） Title: "Clear Radiance". Vessel: basket. Style: kao-wu-t'i.

right） Title: "Standing". Vessel: deformed porcelain vase. Style: kao-wu-t'i.

Title: "Spring Is Here.

Vessel: Two-handled vase.

Style: kao-wu-t'i.

（left） Style: kao-ch?-t'i. （middle）

Style: kao-wu-t'i. （right） Style: kao-wu-t'i.

Style: kao-wu-t'i.