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This compilation is not established merely for the purpose of Bian stone therapy, but aims to comprehensively investigate the origins and pathways of meridians, acupoints, and vessels. Therefore, the treatise discusses the meridians throughout the body. Although it references chapters from the *Ling Shu* (Spiritual Pivot) and *Su Wen* (Basic Questions), it adheres strictly to the *Ling Shu: Meridians* chapter as its fundamental basis; hence, it is named *Jing Mai Yi* (Wings of the Meridians).

The sequence of the twelve regular meridians listed follows the order of Qi and Blood flow (Liu Zhu). It begins with the Hand-Taiyin Lung Meridian (Shou Taiyin Fei Jing) and concludes with the Foot-Jueyin Liver Meridian (Zu Jueyin Gan Jing). The Ren Mai (Conception Vessel) and Du Mai (Governing Vessel), two of the extraordinary vessels, are appended.

Regarding the meridian songs and mnemonics, statements from Master Dou (Dou Hanqing) and other practitioners are widely selected. Any content beneficial to the purport of the *Ling Shu: Meridians* is printed in large characters. Below these, the text of the *Ling Shu* is detailed and explained. The segmentation of the meridian text is based primarily on the original text of the *Ling Shu*. Annotations by Hua Shou (Hua Boren) are attached after the meridian text, distinguished by circles. For acupoints where meridians intersect or pass through, an outer circle is used to separate them, noting "seen in [Specific] Meridian," without further repetition.

Regarding meridian flow, terms such as "Li" (pass through), "Xun" (follow/circulate), "Zhi" (arrive at), and "Di" (reach) are used to describe the course of a specific meridian. Terms such as "Hui" (meet), "Guo" (pass), and "Xing" (travel) are used for intersection points. Locations that are neither part of the main course of the meridian nor intersection points are excluded.

Acupoints included in the songs are now listed in large characters with clear explanations according to their segmented sections, to facilitate learning for beginners. The selection of acupoints refers to chapters in the *Ling Shu*, *Su Wen*, and the expositions by Hua Shou. Where certain point locations are complex or difficult to ascertain, annotations from texts such as *Zhen Ji Ji Yao* (Essentials of Needling Classics) are added as supplementary notes. Occasionally, personal insights are appended below. When the text states "a point is located at [place]," it refers to a fixed anatomical location. When it states "take points above or below [a point]," it implies that the point can only be located through movements such as flexion, extension, supination, pronation, sitting, lying, kneeling, or palpation/tapping. This differs from the static description of flow paths.

At the end, a general song is appended, synthesizing consistent views from various schools, followed by commentary reflecting humble opinions to record the beginning and end of each meridian.

Where meridian songs differ from the textual segmentation of the classics, meaning is sought through breaking chapters into segments to ensure coherence, avoiding forced rhyming that might obscure the context. These are slightly reorganized into two parts to ensure logical smoothness and fidelity to the original meaning, regardless of literary elegance.

Discrepancies in acupoint locations described by various authors that contradict the flow sequence are corrected here to avoid contradiction.

The original text of the *Ling Shu* elucidates the primary principles, whereas Hua Shou’s summaries vary in detail. Here, the *Ling Shu* is taken as the primary authority, with differences in Hua Shou’s annotations analyzed subsequently.

Although the Eight Extraordinary Vessels do not follow the regular pathways like the twelve meridians, they are not as subtle as the collateral vessels. The direct courses of the Ren and Du vessels have been placed after the diagrams of the regular meridians. The Yin Wei, Yang Wei, Yin Qiao, Yang Qiao, Chong, and Dai vessels are compiled separately because they possess specific emerging points, which are recorded in this section for reference.

These are the ten precepts above.

Since childhood, Ying received the residual teachings and discussions from his grandfather and ancestors, holding them dear and recording them by hand. He reviewed them diligently for thirty years. Whenever encountering learned individuals from all directions, he sought their correction and guidance. By consulting various books, he identified commonalities and eliminated discrepancies, ensuring alignment with orthodoxy. This represents merely a single insight. Fearing that these materials might be lost over time, he presumptuously compiled this book, daring to have it carved onto woodblocks for dissemination, sharing it with filial sons and novice scholars alike.

On the Winter Solstice day of the Ding Si year of the Hongzhi era, Xia Ying (courtesy name Shiyan) of Guhang respectfully inscribed this at the Xinghua Chunxiao Pavilion.