凡诊眼目。既察形容。当观气色。夫目者心之符。肝之窍。五脏六腑之精气也。华色者。其荣也。论疾诊尺篇
曰。目赤色。病在心。白在肺。青在肝。黄在脾。黑在肾。黄色不可名者。病在胸中。此以目色分五脏也。由是而
观。有明暗之辨焉。有清浊之分焉。有浅深之异焉。明则神气充足。暗则神气亏虚。清者病在阳。浊者病在
阴。浅深者。言乎其虚实也。合而论之。则深而清明者为太过。浅而浊暗者为不及。太过者病在外。不及者
病在内。察其气色而言脏腑。察其脏腑而言病症。明暗者言其光彩。清浊者论其气色。气色淡者谓之浅。
气色浓者谓之深也。以寒热言之。黄赤者多热气。青白者少热气。以证候言之。黄赤为风。青黑为痛。白为
寒。其声色臭味情志变动。与夫部位之生克。色病之从违。皆可以面部相应之法。比例而推也。然面目相
应者。固可同断。面目不应者。亦可合观。盖应者其常。不应者其变。知其所以变。则知其所以病矣。经曰。精
明五色者。气之华也。赤欲如帛裹朱。不欲如赭。白欲如鹅羽。不欲如盐。青欲如苍璧之泽。不欲如蓝。黄欲
如罗裹雄黄。不欲如黄土。黑欲如重漆色。不欲如地苍。由此观之。则目色之欲清明。不欲浊暗。益可见矣。
夫清明者。神之着。灵动者。神之用。得神则生。失神则死。神也者。心之精爽也。左传云。心之精爽。是谓魂魄。
魂魄去之。何以能久。其是之谓乎。（地苍。朝鲜本作地炭。见东医宝鉴。）
凡是诊察眼目，既要观察其形态神情，又应当观察其气色。眼睛是心的外应表现，是肝的窍穴，也是五脏六腑精气的汇聚之处。华美的色泽，就是精气的外在荣润表现。《论疾诊尺篇》说：眼睛发红，病在心；发白，病在肺；发青，病在肝；发黄，病在脾；发黑，病在肾。黄色难以明确归类的，病在胸中。这是通过眼的颜色来区分五脏病变的方法。由此推演，就有明与暗的辨别，有清与浊的区分，有浅与深的差异。明亮则说明神气充足，晦暗则说明神气亏虚。色清表明病在阳分，色浊表明病在阴分。深浅则是用来论述虚实状况的。综合起来分析，深而清明属于太过，浅而浊暗属于不及。太过者病在外，不及者病在内。通过观察气色来推断脏腑，通过观察脏腑来推断病症。明与暗是用来描述光彩程度的，清与浊是用来论述气色性质的。气色淡薄的称为浅，气色浓重的称为深。从寒热角度而言，黄赤色的多属热气盛，青白色的多属热气少。从证候角度而言，黄赤色主风邪，青黑色主疼痛，白色主寒邪。声音、颜色、气味、情志的变化，以及部位之间的生克关系、颜色与病症的顺逆关系，都可以依据面部相应的法则，按比例进行推演。然而面目相应者固然可以共同判断，面目不相应者也可以结合观察。因为相应的是常态，不相应的是变局。知道其变化的原因，就能知道其患病的原因了。《内经》说：能精明地分辨五色，是因为五色是气的荣华表现。红色应该像白绸裹着朱砂那样润泽，不应该像赭石那样枯暗；白色应该像鹅毛那样洁白，不应该像盐那样惨白；青色应该像青玉那样温润光泽，不应该像靛蓝那样枯涩；黄色应该像丝绸包裹雄黄那样柔和，不应该像黄土那样干枯；黑色应该像多层漆色那样乌黑发亮，不应该像地炭那样灰暗。由此看来，眼的颜色以清明为吉，以浊暗为凶，这一点就更加明显了。所谓清明，是精神显露的表现；灵动，是精神运用的表现。得神则生，失神则死。神，是心所具有的精华和灵爽。《左传》说：心的精华灵爽，就叫做魂魄。如果魂魄离开了身体，怎么能长久呢？说的就是这个道理。（“地苍”，朝鲜本作“地炭”，见《东医宝鉴》。）
In the examination of the eyes, one must observe not only their form and expression but also their Qi and color. The eyes are the external manifestation of the Heart (Xin), the orifice of the Liver (Gan), and the gathering place of the essence-Qi of the five zang organs and six fu organs. Lustrous color represents the flourishing state of these essences. The *Lun Ji Zhen Chi* chapter states: "Redness in the eyes indicates disease in the Heart; whiteness, in the Lung; blueness/greenness, in the Liver; yellowness, in the Spleen; blackness, in the Kidney. If the yellowness is indeterminate, the disease lies in the chest." This method uses eye color to differentiate diseases among the five zang organs. From this, we can deduce distinctions between brightness and darkness, clarity and turbidity, and shallowness and depth. Brightness indicates sufficient Shen-spirit (Spirit/Mind); darkness indicates deficiency of Shen-spirit. Clarity suggests disease in the Yang aspects; turbidity suggests disease in the Yin aspects. Shallowness and depth describe the conditions of excess and deficiency, respectively. Synthesizing these observations, deep and clear colors indicate an excess condition, while shallow and turbid/dark colors indicate a deficiency condition. Excess conditions involve disease in the exterior; deficiency conditions involve disease in the interior. By observing Qi and color, one infers the status of the zang-fu organs; by assessing the zang-fu organs, one diagnoses specific pathological patterns. Brightness and darkness refer to luster; clarity and turbidity refer to the nature of the Qi and color. Pale Qi and color are termed "shallow," while dense and rich Qi and color are termed "deep." In terms of cold and heat, yellow and red hues often indicate abundant heat, whereas blue/green and white hues indicate scant heat. In terms of syndromes, yellow and red suggest wind pathogens, blue/black suggest pain, and white suggests cold. Changes in voice, color, odor, and emotions, as well as the generating and controlling relationships among facial regions and the compliance or opposition between color and disease, can all be inferred proportionally based on the methods of facial correspondence. Although corresponding features between the face and eyes allow for unified diagnosis, non-corresponding features can also be analyzed in conjunction. Correspondence represents the normal state; non-correspondence represents variation. Understanding the cause of variation allows one to understand the cause of disease. The Classics state: "Those who can clearly distinguish the five colors do so because the five colors are the blossoms of Qi." Red should resemble white silk wrapping cinnabar (lustrous and vibrant), not ochre (dull and dry); white should resemble goose feathers (pure and soft), not salt (harsh and stark); blue/green should resemble the luster of dark jade (moist and bright), not indigo (dry and dull); yellow should resemble raw realgar wrapped in silk (gentle and radiant), not loess soil (dry and dusty); black should resemble layered lacquer (deep and glossy), not earth charcoal (ashy and dull). From this, it is evident that eye colors favor clarity and brightness over turbidity and darkness. Clarity is the manifestation of Shen-spirit; agility/liveliness is the function of Shen-spirit. Possession of Shen leads to life; loss of Shen leads to death. Shen is the refined essence and mental clarity of the Heart. The *Zuo Zhuan* states: "The refined essence and mental clarity of the Heart are called Hun and Po (Soul and Spirit)." If Hun and Po depart, how can longevity be maintained? This refers precisely to this principle. (Note: "Di Cang" appears as "Di Tan" in the Korean edition, see *Dongui Bogam*.)