黄帝问于岐伯曰。余闻刺有五阅。以观五气。五气者。五脏之使也。五时之副也。愿闻其五使。当安出。岐伯曰。
五官者。五脏之阅也。黄帝曰。愿闻其所出。令可为常。岐伯曰。脉出于气口。色见于明堂。五色更出。以应五时。各
如其常。经气入藏必当治里黄帝曰。善。五色独决于明堂乎。岐伯曰。五官以辨。阙庭必张。乃立明堂。明堂广大。蕃
蔽见外。方壁高基。引垂居外。五色乃治。平博广大。寿中百岁。见此者。刺之必已。如是之人者。血气有余。肌肉坚
致。故可苦以针。黄帝曰。愿闻五官。岐伯曰。鼻者肺之官也。目者肝之官也。口唇者脾之官也。舌者心之官也。耳者
肾之官也。黄帝曰。以官何候。岐伯曰。以候五脏。故肺病者。喘息鼻张。肝病者。 青。脾病者。唇黄。心病者。舌
卷短。颧赤。肾病者。颧与颜黑。黄帝曰。五脉安出五色安见其常色殆者如何。岐伯曰。五官不辨阙庭不张。小其明堂。
蕃蔽不见。又埤其墙。墙下无基。垂角去外。如是者。虽平常殆。况加疾哉。黄帝曰。五色之见于明堂以观五脏之气。
左右高下。各有形乎。岐伯曰。腑脏之在中也。各以次舍。左右上下。各如其度也。
步步搜拶节节展开。用笔有官止神行之妙。但铸词不甚精湛耳。五阅五脏之外部也。即五官五使五脏之气化也。即
五色通篇注重在五官之五色。其明堂一层。前作陪笔。后作补笔。是文本烘托法。
Huangdi asked Qibo, saying: I have heard that acupuncture has five observation windows (Wu Yue, five external orifices for diagnosis) to observe the Qi of the five Zang organs. These five Qi are the messengers (Wu Shi, external manifestations) of the five Zang organs and the counterparts (Fu Xiang, corresponding indicators) of the five seasons. I wish to hear about these five messengers; where do they emerge?
Qibo replied: The five orifices (Guan, nose, eyes, mouth/lips, tongue, ears) are the observation windows of the five Zang organs.
Huangdi said: I wish to know their specific manifestations so that they may serve as a constant standard.
Qibo said: Pulse images can be observed at the Qi Kou (Cunkou pulse), and complexion can be seen at the Ming Tang (the central area of the face, specifically the nose and surrounding region). The five colors change in accordance with the five seasons (Spring, Summer, Late Summer, Autumn, Winter), each conforming to its normal state. When Jing Qi enters the Zang organs, treatment must focus on the interior.
Huangdi said: Excellent. Is the determination of the five colors solely dependent on the Ming Tang?
Qibo said: By examining the five orifices, one can distinguish the condition of the Zang organs. The Que Ting (the area between the eyebrows extending to the forehead) must be open and wide, thereby establishing the form of the Ming Tang. If the Ming Tang is broad and large, the Fan Bi (cheeks and jawline) are visible externally, the facial contours are high and square-like like a wall, the foundation is thick, and the hanging corners are positioned outwardly, then the five colors are harmonious. If the complexion is peaceful, full, and broad, such a person will live to a hundred years old. For such individuals, acupuncture will certainly cure the disease. Such people have abundant Blood and Qi, and firm, dense muscles; therefore, they can withstand strong needle stimulation.
Huangdi said: I wish to learn about the five orifices.
Qibo said: The nose is the orifice of the Lung; the eyes are the orifice of the Liver; the lips are the orifice of the Spleen; the tongue is the orifice of the Heart; the ears are the orifice of the Kidney.
Huangdi said: How does one use the orifices for prognosis?
Qibo said: One uses them to prognosticate the five Zang organs. Thus, in Lung disease, there is panting and flaring of the nostrils; in Liver disease, the complexion is green; in Spleen disease, the lips are yellow; in Heart disease, the tongue is curled and short, and the malar bones are red; in Kidney disease, the malar bones and the face are black.
Huangdi said: Where do the five pulses emerge? From where are the five colors seen? What is their normal state? And what is the appearance of those in critical condition?
Qibo said: If the five orifices cannot be distinguished, the Que Ting is not open, the Ming Tang is small, the Fan Bi is invisible, the "walls" (facial contours) are low, the base lacks support, and the hanging corners recede inward, then such a person is in danger even when healthy, let alone when diseased.
Huangdi said: Regarding the five colors appearing in the Ming Tang to observe the Qi of the five Zang organs, do the left and right sides have different heights and shapes?
Qibo said: The Zang and Fu organs reside within the body, each occupying its designated position in sequence. Their positions on the left and right, above and below, each conform to their respective measures.
The text advances step by step, searching deeply and unfolding section by section, exhibiting the subtle art of "stopping at the organ but moving with the spirit," though the diction is not exceptionally refined. "Wu Yue" refers to the external aspects of the five Zang organs, i.e., the five orifices. "Wu Shi" refers to the Qi transformation of the five Zang organs, i.e., the five colors. The entire passage focuses on the five colors reflected by the five orifices. The description of the Ming Tang serves as introductory padding before and supplementary elaboration after, employing a textual烘托 (highlighting/foil) technique.