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。
黄帝向岐伯问道：我听说针刺有五种观察窗口，用来观察五脏之气。这五种气，是五脏的外在表现使者，也是对应四季变化的副象。我希望了解这五种表现，它们是从哪里显现出来的？
黄帝说：我希望了解它们的具体表现，以便作为常规诊断依据。
岐伯说：脉象可以从气口（寸口脉）处诊察，面色可以在明堂（鼻部及面部中央区域）观察到。五色会随着季节变化而更替，以顺应五时（春、夏、长夏、秋、冬），各自符合其常态。经气入藏，治疗时必须治里。
岐伯说：通过五官可以辨别脏腑状况，阙庭（两眉之间至前额部位）必须开阔张开，才能确立明堂的形态。如果明堂广大，蕃蔽（面颊两侧及下颌部位）显露在外，面部轮廓像方形的墙壁一样高耸，根基厚实，牵引下垂的部分位于外侧，这样的面色就调和。如果面色平和、饱满、广大，这样的人寿命可达百岁。遇到这样体质的人，针刺必定能治愈疾病。像这样的人，血气有余，肌肉坚实致密，所以可以用针石进行强刺激治疗。
黄帝说：我希望了解五官的具体情况。
岐伯说：鼻是肺的官窍；眼睛是肝的官窍；口唇是脾的官窍；舌头是心的官窍；耳朵是肾的官窍。
黄帝说：通过官窍如何候诊？
岐伯说：通过官窍来候诊五脏。所以肺病的人，会出现喘息、鼻孔张大的症状；肝病的人，面色发青；脾病的人，口唇发黄；心病的人，舌头卷缩短小，颧骨发红；肾病的人，颧骨和颜面颜色发黑。
黄帝说：五种脉象从哪里出现？五色从哪里看见？它们的常态是怎样的？病危之人的面色又是怎样的？
岐伯说：如果五官不能辨别，阙庭不开阔，明堂狭小，蕃蔽看不见，又压低其城墙（面部轮廓低平），城墙下没有根基，下垂的角部远离外侧。像这样的人，即使平时也处于危险状态，何况再加上疾病呢？
黄帝说：五色显现在明堂上，用来观察五脏之气，左右高低，各有不同的形态吗？
岐伯说：脏腑在体内，各按次序居住在不同的部位，左右上下，各自符合其法度。
步步深入搜求，节节展开论述，用笔有“官止神行”的美妙之处，只是遣词造句不够精炼精湛。五阅是五脏的外部表现，即五官；五使是五脏的气化功能，即五色。通篇注重在五官所反映的五色。关于明堂的描写，前面是陪衬笔墨，后面是补充笔墨，这是文本烘托的手法。
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.