Lan Caihe is the one member of the group whose gender the sources do not settle, and the atlas records that rather than choosing, because the indeterminacy is in the tradition itself and is not a modern reading laid over it.
The early accounts describe a young person in ragged clothes and do not say. Later writers variously took Lan Caihe for a young man, for a woman, and for someone whose sex could not be determined, and the classical Chinese in which the earliest notices are written does not force the question in the way an English sentence does. The stage compounded it: theatrical convention regularly had the role played across gender, and pictorial tradition follows no single rule, so that the flower basket and the loose gown appear on figures drawn as youths and as women in roughly equal measure.
What the tradition does consistently is treat this as unremarkable. No source offers an explanation, a transformation story or an argument about it, which is itself worth noticing: a set of eight built to cover every condition of humanity has one member who does not fit the categories, and nobody involved in fixing that set appears to have thought it needed resolving.
The atlas therefore leaves the polarity of this entry unset, states the position of the sources in its own facts, and makes no claim in either direction. Where a tradition has declined to specify, filling the gap would be an assertion the sources do not support.