骨度篇曰。胸围四尺五寸。腰围四尺二寸。结喉。以下。至缺盆中。长四寸。缺盆以下
。至
枢以下。至横骨长六寸半。过则回肠广大。不满则狭短。横骨长六寸半○两乳之间。广九寸半
按 HT 胸前岐骨际也。缺盆中。天突也。天枢谓脐心。脐心不易见。故以旁穴而言。
\r胸腹总图一\p06-d22a17.bmp\r
\r胸腹总图二\p06-d22a18.bmp\r
按两乳间九寸半。甲乙经。亦同。今试折量。两乳间为九寸半。则一寸当一指。比之胸
围四
体分寸。一从骨度篇。至两乳间。特不用何居。此不知胸博除任脉之失也。胸博任脉广一寸
半。而其旁各四寸直两乳。学人思诸。两乳间横折八寸之法。未知出。干何人神应经曰。横
寸
为定法。千载无见者。悲哉。洗冤录曰。左右肋骨。男子各十二条。八条长。四条短。妇人各十
胸中行自天突下行至中庭凡七穴。
天突（素问）一名玉户（甲乙）一名天瞿（千金）缺盆之中（灵枢）颈结喉下二寸。中央。宛宛
中。低头取之。（甲乙）
按玉。宝鉴作五误。素问云。任脉气所发者。喉中央二。次注曰。谓廉泉天突二穴。千金。千
金翼。外台。作五寸。甲乙注。引气府论注曰。五寸。今本作四寸。聚英。医统。宝鉴。吴
文炳。同。明堂。作五分。发挥。入门。大成。作一寸。类经作三寸。共不是。次注。入门。
作低针取之。字误。骨度篇曰自结喉至天突四寸。是主骨度而言之。正面正身取之。甲乙经。以为结喉
下。至天突二寸。是主取穴刺针而言之。故曰。低头取之也。取此穴者。低头取之。故资生经
曰。其下针直横下。不得低手。何则低手伤咽喉此解低头取之义也。低头则咽喉沉而针刺无
害。不可不知也。今人不知低头则二寸。正面则四寸之义。谩作二说。非也。近世多自天突。至
岐骨际。折作八寸四分。如然则中庭当岐骨际。不可从也。按骨度篇。自天突至岐骨际九寸。又
云。膺中骨间。各一。今用九寸。即八寸四分。为中庭穴。其下至岐骨际六分。是古法也。
璇玑（甲乙）天突下一寸。中央。陷者中仰头取之。（甲乙）
按玑。千金。作机。恐误。气府论云。膺中骨陷中。各一。次注曰。谓璇玑。华盖紫宫
膻中。中庭。六穴也。胸博。载分寸。举其大概也。故曰陷者中。只取骨间。下同。大成。作
华盖（甲乙）璇玑下一寸陷者中。仰头取之。（甲乙）
按发挥。作二寸。入门。宝鉴。大成。金鉴。作一寸六分。共非矣。又不合骨度之数。一
二肋骨。密而不疏。作一寸者。取之骨间之义也。
紫宫（甲乙）华盖下。一寸六分。陷者中。仰头取之。（甲乙）
玉堂（难经）一名玉英（甲乙）紫宫下。一寸六分陷者中。仰头取之。（甲乙）
膻中（难经）一名元儿。（甲乙）一名上气海（类经）一名元见（大全）玉堂下一寸六分。陷者
中。仰而取之（甲乙）横直两乳间。（千金）禁刺（千翼）
按膻。千金。千金翼。外台。作HT 。古通用。大全曰。一名HT 中不取。资生。类经。而
作卧
金心脏篇曰。胸痹心痛灸HT 中百壮。穴在鸠尾上一寸。忌针非也。
中庭（甲乙）膻中下。一寸六分。陷者中。仰而取之。（甲乙）
按明堂。作膻中下一寸。入门。金鉴。作鸠尾上一寸。此自天突至岐骨际。作八寸四分之
胸第二行。自俞府。挟璇玑两旁各二寸。下行至步廊。凡十二穴。
俞府（素问）一名输府（大全宝鉴）巨骨下。去璇玑旁。各二寸。陷者中。仰而取之。（甲乙）
按甲乙。外台。明堂。俞作输。下皆同。资生。圣济。大全。宝鉴。作 。千金千金翼。
发挥聚英作俞是也。俞府出内经。俞。输。 。以音通用。大全。宝鉴以为一名。今暂从之。千金翼
。而作卧。外台作仰卧。而巨骨胸前巨骨也。非穴名。璇玑。次注。作任脉非也。大全曰。璇
玑之旁三寸所。不是。医门摘要曰。胸博间一肋取穴。不可泥。一寸六分。可谓能知取穴之法也。
中（甲乙）俞府下一寸六分。陷者中仰而取之。（甲乙）
按而。千金。并翼方作卧。外台。作仰卧而骨间。各取一穴。同上。明堂云。一寸。非
矣。
下诸书。每穴有去中行二寸之解。不是。说见下。
神藏（甲乙） 中下。一寸六分。陷者中仰而取之。（甲乙）
按而。千金翼作卧。
灵墟（甲乙）神藏下。一寸六分陷者中。仰而取之。（甲乙）
按千金曰。墟。或作墙。入门。作虚。聚英。医统。作去中行各开一寸。字误。
神封（甲乙）灵墟下。一寸六分。陷者中。仰而取之。（甲乙）
步廊（甲乙）神封下一寸六分。陷者中。仰而取之。（甲乙）
按廊。千金。外台。圣济资生。作郎。类经曰。挟中庭。入门曰。去中庭外。非也。横对中
庭。稍下六分许。
胸第三行自气户挟俞府。两旁各二寸。下行至乳根。凡十二穴。
气户（甲乙）巨骨下。俞府两旁。各二寸。陷者中。仰而取之。（甲乙）
按气府论云。膺中骨间。各一。类经。聚英。医统。吴文炳。金鉴。大成。每穴有去中
行。
四寸之解。说见下。次注曰。去膺窗上。四寸八分。聚英。医统。吴文炳。无上字。金鉴
曰
。巨骨下。一寸。并拘。宝鉴曰。资生云。自气户。至乳根六穴。去膺中行。各四寸。相去
各一寸六分。今本不载。
库房（甲乙）气户下。一寸六分。陷者中。仰而取之。（甲乙）
按冈本。作一寸。非也。取诸骨间。不必拘。说既见。
屋翳（甲乙）库房下。一寸六分（甲乙）陷者中。仰而取之（千金）
按次注曰。气户下。三寸二分。聚英曰。巨骨下四寸八分隔穴而说分寸者。不能无误。
膺窗（甲乙）屋翳下。一寸六分。（甲乙）陷中。（圣济）
按资生。窗作 。同字。次注。作胸两旁。挟中行。各相去四寸。巨骨下四寸八分。误
。
乳中（甲乙）当乳（资生）即乳头上。（入门）禁刺灸（甲乙）微刺。（资生又宝鉴。引入门曰
。针宜浅。刺二分。今本不见。）
按甲乙。千金。千金翼。外台。无注。古书之所妙。次注曰。膺窗之下。即乳中也。资
生注
云。亦相去寸六分非是相去二字。不成义。类经曰。一传胎衣不下。以乳头向下尽处。俱灸
之即下。
乳根（甲乙）一名薛息（千金）乳下一寸六分。陷者中。仰而取之（甲乙）乳下。第一肋间宛
宛中（千金）
按千金方曰。薛息。在乳下第一肋间宛宛中是也。今移入一名。宝鉴。作一寸四分。非
矣。医学正传曰妇人在乳房下起肉处陷中。只陷中二字。可取。
胸第四行自云门挟气户。两旁各二寸。下行至食窦。凡十二穴。
云门（素问）巨骨下。气户两旁各二寸。陷者中。动脉应手。举臂取之。（甲乙）刺太深
令人逆息。（甲乙）禁针（入门）
按气穴论云。膺俞十二穴。次注曰。谓云门中府。周荣。胸乡。天溪。食窦。左右则十
二穴
也。资生。 作云。通用。次注有每穴横去任脉六寸之解。类经。聚英。从之。说见下。
中府（脉经）一名膺中俞。（甲乙）一名肺募。（千金）一名府中俞。（大全）云门下。一寸。
乳上三肋间。陷者中。动脉应手。仰而取之。（甲乙）禁灸（入门）
按凡胸博诸穴。各在骨间。不待折量。而言分寸者。言大概也。千金。外台。一云。一
寸六
分。明堂。大成。冈本。从之非也。胸骨状如偃月。故第二行折量稍长第三行与中行平。学
者察诸。膺中俞。聚英。医统。作膺俞。素问曰。膺俞。次注曰。中府穴。
周荣（甲乙）中府下。一寸六分。陷者中。仰而取之。（甲乙）禁灸（入门宝鉴）
按荣。甲乙作营误。今订之。
胸乡（甲乙）周荣下。一寸六分。陷者中。仰而取之。（甲乙）
天溪（甲乙）胸乡下。一寸六分。陷者中。仰而取之。（甲乙）
食窦（甲乙）天溪下。一寸六分。陷者中。仰而取之（甲乙）举臂取之。（千金）
按金鉴作腹哀上行三寸。或从乳上。三肋间。动脉应手处。往下六寸四分。迂甚矣。次
注曰。云门。食窦。举臂取之。余并仰取之。
《骨度篇》记载：胸围四尺五寸，腰围四尺二寸。从结喉（颈部喉结）以下，至缺盆（锁骨上窝中央凹陷处），长度四寸。从缺盆以下，至天枢（此处指脐中，因脐心不易直接观察，故以旁侧穴位作为参照）。从枢（此处疑为“歧骨”或特定骨性标志，结合下文应为胸剑联合/鸠尾穴附近）以下，至横骨（耻骨联合上缘），长六寸半。若超过此长度，则回肠宽大；若不满此长度，则狭短。横骨长六寸半。两乳之间，宽度九寸半。
按语：HT（此处原文疑似错字或异体字，结合上下文及后文“任脉广一寸半”，应指胸中线/任脉循行部位）位于胸前岐骨际（胸骨剑突与胸骨体连接处的凹陷）。缺盆中是天突穴。天枢指的是脐心，因为脐心不易见到，所以用旁边的穴位来说明。
[图片：胸腹总图一]
[图片：胸腹总图二]
按语：两乳间距离九寸半，《甲乙经》也相同。现在试着度量，如果两乳间为九寸半，那么一寸大约相当于一个手指的宽度。这与《骨度篇》中胸围四尺五寸的比例相比，在确定两乳间距离时，为何不采用《骨度篇》的标准？这是不了解胸廓除任脉以外的经脉分布所致。胸廓任脉宽度为一寸半，而其旁各四寸直对两乳。学者们请思考。两乳间横向折量八寸的方法，不知出自何人？《神应经》说：横寸定为法度，千年来无人见过这种说法，可悲啊。《洗冤录》记载：左右肋骨，男子各十二条，其中八条长，四条短；女子各十条……
胸中行从天突穴向下至中庭穴，共有七个穴位。
天突穴（出自《素问》），又名玉户（出自《甲乙经》），又名天瞿（出自《千金方》）。位于缺盆之中（出自《灵枢》），颈结喉下二寸，中央宛宛然凹陷处，低头取之（出自《甲乙经》）。
按语：“玉”字，《宝鉴》作“五”，是误字。《素问》说：任脉气所发出的穴位，喉中央有两个。次注解释说：指的是廉泉、天突两个穴位。《千金方》、《千金翼方》、《外台秘要》作“五寸”。《甲乙经》注引《气府论》注曰：“五寸”，今本作“四寸”。《聚英》、《医统》、《宝鉴》、吴文炳均同。《明堂》作“五分”。《发挥》、《入门》、《大成》作“一寸”。《类经》作“三寸”。这些都不对。次注、《入门》作“低针取之”，“字”是误字。《骨度篇》说：自结喉至天突四寸，这是依据骨度而言的。正面正身取穴。《甲乙经》认为：结喉下至天突二寸，这是依据取穴刺针而言的。所以说：“低头取之”。取这个穴位，要低头取之。所以《资生经》说：其下针时直向横下，不得低手（手的位置过低）。为什么呢？因为手位置过低会伤及咽喉。这是对“低头取之”含义的解释。低头则咽喉下沉，针刺无危害。不可不知道这一点。现在的人不知道低头时二寸、正面时四寸的含义，随意作出两种说法，是不对的。近代人多将从天突至岐骨际的距离折作八寸四分。如果是这样，那么中庭穴应当在岐骨际，这不可取。按《骨度篇》，自天突至岐骨际九寸，又说：膺中骨间，各有一穴。现在用九寸，即八寸四分，作为中庭穴的位置，其下至岐骨际六分，这是古法。
璇玑穴（出自《甲乙经》）：在天突下一寸，中央陷者中，仰头取之（出自《甲乙经》）。
按语：“玑”字，《千金方》作“机”，恐怕是误字。《气府论》说：膺中骨陷中，各有一穴。次注解释说：指的是璇玑、华盖、紫宫、膻中、中庭，共六个穴位。胸廓图载有分寸，只是列举大概。所以说“陷者中”，只取骨间，下同。《大成》作……
华盖穴（出自《甲乙经》）：在璇玑下一寸，陷者中，仰头取之（出自《甲乙经》）。
按语：《发挥》作二寸，《入门》、《宝鉴》、《大成》、《金鉴》作一寸六分，都不对。也不符合骨度的数值。第一、二肋骨紧密而不疏，作一寸者，是取骨间之义。
紫宫穴（出自《甲乙经》）：在华盖下一寸六分，陷者中，仰头取之（出自《甲乙经》）。
玉堂穴（出自《难经》），又名玉英（出自《甲乙经》）：在紫宫下一寸六分，陷者中，仰头取之（出自《甲乙经》）。
膻中穴（出自《难经》），又名元儿（出自《甲乙经》），又名上气海（出自《类经》），又名元见（出自《大全》）。在玉堂下一寸六分，陷者中，仰而取之（出自《甲乙经》），横直对两乳间（出自《千金方》）。禁刺（出自《千金翼方》）。
按语：“膻”字，《千金方》、《千金翼方》、《外台秘要》作“HT”（此处原文可能为“单”或特定符号，意指单数或中线，结合后文“HT中”推测指任脉中线）。古通用。《大全》说：一名HT中不取。《资生》、《类经》作卧。《金心脏篇》说：胸痹心痛灸HT中百壮。穴在鸠尾上一寸，忌针，这是不对的。
中庭穴（出自《甲乙经》）：在膻中下一寸六分，陷者中，仰而取之（出自《甲乙经》）。
按语：《明堂》作膻中下一寸。《入门》、《金鉴》作鸠尾上一寸。这是将自天突至岐骨际作八寸四分……
胸第二行，自俞府穴开始，挟璇玑两旁各二寸，下行至步廊穴，共有十二个穴位。
俞府穴（出自《素问》），又名输府（出自《大全》、《宝鉴》）：在巨骨下，去璇玑旁各二寸，陷者中，仰而取之（出自《甲乙经》）。
按语：《甲乙经》、《外台秘要》、《明堂》，俞作“输”，下面皆同。《资生》、《圣济总录》、《大全》、《宝鉴》作“俞”。《千金方》、《千金翼方》、《发挥》、《聚英》作“俞”是正确的。俞府出《内经》，“俞”、“输”、“谕”以音通用。《大全》、《宝鉴》以为是一个名字，现在暂且遵从它。《千金翼方》作“卧”。《外台秘要》作“仰卧”。而巨骨是指胸前的巨骨，不是穴位名。璇玑，次注作任脉，是不对的。《大全》说：璇玑之旁三寸所，不对。《医门摘要》说：胸廓间一肋取穴，不可拘泥于一寸六分，可谓能知取穴之法了。
神藏穴（出自《甲乙经》）：在俞府下一寸六分，陷者中，仰而取之（出自《甲乙经》）。
按语：“而”字，《千金方》、《翼方》作“卧”。《外台秘要》作“仰卧”。而骨间，各取一穴，同上。《明堂》云：一寸，不对。
下诸书，每穴有去中行二寸的解释，是不对的。说法见下文。
神藏穴（出自《甲乙经》）：在中俞府下一寸六分……（此处原文重复或排版错误，依前文逻辑应为继俞府之后，但标题已列神藏，此处略过重复项，直接进入下一穴描述，或视为校对说明）。
*注：原文此处结构略显混乱，根据后续内容，神藏后为灵墟。*
灵墟穴（出自《甲乙经》）：在神藏下一寸六分，陷者中，仰而取之（出自《甲乙经》）。
按语：《千金方》说：墟，或作墙。《入门》作虚。《聚英》、《医统》作去中行各开一寸，是误字。
神封穴（出自《甲乙经》）：在灵墟下一寸六分，陷者中，仰而取之（出自《甲乙经》）。
步廊穴（出自《甲乙经》）：在神封下一寸六分，陷者中，仰而取之（出自《甲乙经》）。
按语：“廊”字，《千金方》、《外台秘要》、《圣济总录》、《资生经》作“郎”。《类经》说：挟中庭。《入门》说：去中庭外，不对。横对中庭，稍下六分许。
胸第三行，自气户穴开始，挟俞府两旁各二寸，下行至乳根穴，共有十二个穴位。
气户穴（出自《甲乙经》）：在巨骨下，俞府两旁各二寸，陷者中，仰而取之（出自《甲乙经》）。
按语：《气府论》说：膺中骨间，各有一穴。《类经》、《聚英》、《医统》、吴文炳、《金鉴》、《大成》，每穴有去中行四寸的解释，说法见下文。次注说：去膺窗上四寸八分。《聚英》、《医统》、吴文炳无上字。《金鉴》说：巨骨下一寸，并拘。《宝鉴》说：《资生经》云：自气户至乳根六穴，去膺中行各四寸，相去各一寸六分。今本不载。
库房穴（出自《甲乙经》）：在气户下一寸六分，陷者中，仰而取之（出自《甲乙经》）。
按语：冈本作一寸，不对。取诸骨间，不必拘泥。说法既见上文。
屋翳穴（出自《甲乙经》）：在库房下一寸六分（出自《甲乙经》），陷者中，仰而取之（出自《千金方》）。
按语：次注说：气户下三寸二分。《聚英》说：巨骨下四寸八分。分隔穴而说分寸者，不能无误。
膺窗穴（出自《甲乙经》）：在屋翳下一寸六分（出自《甲乙经》），陷中（出自《圣济总录》）。
按语：《资生经》，窗作“牎”，同字。次注，作胸两旁，挟中行，各相去四寸，巨骨下四寸八分，误。
乳中穴（出自《甲乙经》）：当乳（出自《资生经》），即乳头上（出自《入门》）。禁刺灸（出自《甲乙经》）。微刺（出自《资生经》又《宝鉴》，引入门曰：针宜浅，刺二分，今本不见）。
按语：《甲乙经》、《千金方》、《千金翼方》、《外台秘要》，无注。古书之所妙。次注说：膺窗之下，即乳中也。《资生经》注云：亦相去寸六分，非是“相去”二字，不成义。《类经》说：一传胎衣不下，以乳头向下尽处，俱灸之即下。
乳根穴（出自《甲乙经》），又名薛息（出自《千金方》）：在乳下一寸六分，陷者中，仰而取之（出自《甲乙经》）。乳下，第一肋间宛宛中（出自《千金方》）。
按语：《千金方》说：薛息，在乳下第一肋间宛宛中是也。今移入一名。《宝鉴》作一寸四分，不对。《医学正传》说：妇人在乳房下起肉处陷中，只“陷中”二字，可取。
胸第四行，自云门穴开始，挟气户两旁各二寸，下行至食窦穴，共有十二个穴位。
云门穴（出自《素问》）：在巨骨下，气户两旁各二寸，陷者中，动脉应手，举臂取之（出自《甲乙经》）。刺太深令人逆息（出自《甲乙经》）。禁针（出自《入门》）。
按语：《气穴论》说：膺俞十二穴。次注说：谓云门、中府、周荣、胸乡、天溪、食窦，左右则十二穴也。《资生经》，云作“云”，通用。次注有每穴横去任脉六寸的解释。《类经》、《聚英》从之，说法见下文。
中府穴（出自《脉经》），又名膺中俞（出自《甲乙经》），又名肺募（出自《千金方》），又名府中俞（出自《大全》）。在云门下，一寸，乳上三肋间，陷者中，动脉应手，仰而取之（出自《甲乙经》）。禁灸（出自《入门》）。
按语：凡胸廓诸穴，各在骨间，不待折量，而言分寸者，言大概也。《千金方》、《外台秘要》，一云：一寸六分。《明堂》、《大成》、冈本，从之，不对。胸骨状如偃月，故第二行折量稍长，第三行与中行平。学者察诸。“膺中俞”，《聚英》、《医统》作“膺俞”。《素问》说：膺俞。次注说：中府穴。
周荣穴（出自《甲乙经》）：在中府下一寸六分，陷者中，仰而取之（出自《甲乙经》）。禁灸（出自《入门》、《宝鉴》）。
按语：“荣”字，《甲乙经》作“营”，误。今订之。
胸乡穴（出自《甲乙经》）：在周荣下一寸六分，陷者中，仰而取之（出自《甲乙经》）。
天溪穴（出自《甲乙经》）：在胸乡下，一寸六分，陷者中，仰而取之（出自《甲乙经》）。
食窦穴（出自《甲乙经》）：在天溪下一寸六分，陷者中，仰而取之（出自《甲乙经》）。举臂取之（出自《千金方》）。
按语：《金鉴》作腹哀上行三寸，或从乳上三肋间，动脉应手处，往下六寸四分，迂甚矣。次注说：云门、食窦，举臂取之，余并仰取之。
The *Gu Du Pian* (Chapter on Bone Measurements) states: The circumference of the chest is four chi and five cun, and the circumference of the waist is four chi and two cun. From the laryngeal prominence (Jie Hou) below to the center of the Que Pen (supraclavicular fossa), the length is four cun. From the Que Pen below to the Shu (here referring to the umbilicus; as the umbilical center is difficult to observe directly, adjacent acupoints are used for reference). From the Shu (likely referring to the xiphisternal junction or a specific bony landmark near Ji Wei) below to the Heng Gu (upper margin of the pubic symphysis), the length is six and a half cun. If this measurement exceeds six and a half cun, the transverse colon will be wide; if it is less, it will be narrow and short. The Heng Gu measures six and a half cun. Between the two nipples, the width is nine and a half cun.
Commentary: HT (This character in the original text appears to be an error or variant; based on context and the subsequent mention of "Ren Mai width is one and a half cun," it likely refers to the midline of the chest/Chest Center, i.e., the Ren Mai pathway.) is located at the depression of the Qi Gu (the junction between the body and the xiphoid process of the sternum). The center of the Que Pen is the Tian Tu acupoint. Tian Shu refers to the umbilical center. Because the umbilical center is hard to see, the side acupoints are mentioned for explanation.
[Image: General Diagram of Chest and Abdomen 1]
[Image: General Diagram of Chest and Abdomen 2]
Commentary: The distance between the two nipples is nine and a half cun, which is also consistent with the *Jia Yi Jing* (*Systematic Classic of Acupuncture and Moxibustion*). Now, let us try to measure: if the distance between the two nipples is nine and a half cun, then one cun corresponds approximately to the width of one finger. Compared to the proportions in the *Gu Du Pian* where the chest circumference is four chi and five cun, why is the standard from the *Gu Du Pian* not adopted when determining the distance between the nipples? This demonstrates a lack of understanding of the meridian distribution in the thorax excluding the Ren Mai. The width of the Ren Mai in the thorax is one and a half cun, and the meridians on either side are four cun away, aligning vertically with the nipples. Scholars, please reflect on this. The method of horizontally measuring eight cun between the nipples is unknown to have originated from whom. The *Shen Ying Jing* (*Divine Response Classic*) states: Horizontal cun is established as the standard method, yet no one has seen this for a thousand years. How sad! The *Xi Yuan Lu* (*Washing Away Wrongdoings*) records: For men, there are twelve ribs on each side, eight long and four short; for women, there are ten...
The line running down the center of the chest contains seven acupoints from Tian Tu down to Zhong Ting.
Tian Tu (SU WEN / Basic Questions), also known as Yu Hu (JIA YI JING) or Tian Qu (QIAN JIN FANG / Essential Prescriptions Worth a Thousand Gold). Located in the center of the Que Pen (LING SHU / Spiritual Pivot), two cun below the laryngeal prominence, in the central depression. Take this point with the head lowered (JIA YI JING).
Commentary: The character "Yu" is written as "Wu" in the *Bao Jian*, which is an error. The *Su Wen* states: There are two points on the central axis of the throat where the Qi of the Ren Mai emerges. The secondary commentary explains: These refer to the Lian Quan and Tian Tu acupoints. The *Qian Jin Fang*, *Qian Jin Yi Fang* (*Supplement to Prescriptions Worth a Thousand Gold*), and *Wai Tai Mi Yao* (*Essential Essential Formulas of the Outer Cabinet*) state "five cun". The commentary in *Jia Yi Jing* cites the commentary on the *Qi Fu Lun* stating "five cun", but the current text says "four cun". The *Ju Ying*, *Yi Tong*, *Bao Jian*, and Wu Wen Bing all agree. The *Ming Tang* states "five fen". The *Fa Hui*, *Ru Men*, and *Da Cheng* state "one cun". The *Lei Jing* states "three cun". None of these are correct. The secondary commentary and *Ru Men* state "take with low needle insertion"; the character "zi" (word/character) is an error. The *Gu Du Pian* states: From the laryngeal prominence to Tian Tu is four cun; this is based on bone measurements. When taking the point on the front of the body in an upright posture. The *Jia Yi Jing* considers: From below the laryngeal prominence to Tian Tu is two cun; this is based on the method of locating the point for needling. Hence it says: "Take with the head lowered." To locate this acupoint, one must lower the head. Therefore, the *Zi Sheng Jing* states: When inserting the needle, direct it horizontally downwards; do not let your hand go too low. Why? Because lowering the hand injures the throat. This explains the meaning of "lowering the head." Lowering the head causes the throat to sink, making needle insertion safe. This must be known. People nowadays do not understand the meaning that it is two cun when the head is lowered and four cun when upright, arbitrarily creating two different explanations, which is incorrect. In recent times, many divide the distance from Tian Tu to the Qi Gu into eight cun and four fen. If this were so, then the Zhong Ting acupoint would be at the Qi Gu, which cannot be accepted. According to the *Gu Du Pian*, the distance from Tian Tu to the Qi Gu is nine cun. It also states: In the chest bones, there is one point in each intercostal space. Currently, using nine cun, specifically eight cun and four fen, as the position of the Zhong Ting acupoint, with six fen remaining below to the Qi Gu, this is the ancient method.
Xuan Ji (JIA YI JING): One cun below Tian Tu, in the central depression. Take with the head raised (JIA YI JING).
Commentary: The character "Ji" is written as "Ji" (machine) in the *Qian Jin Fang*, which is likely an error. The *Qi Fu Lun* states: In the depressions among the bones of the chest, there is one point each. The secondary commentary explains: These refer to Xuan Ji, Hua Gai, Zi Gong, Dan Zhong, and Zhong Ting, totaling six acupoints. The chest diagram lists the measurements but only gives the general outline. Hence it says "in the depression," referring only to the interspace between bones, same as below. The *Da Cheng* states...
Hua Gai (JIA YI JING): One cun below Xuan Ji, in the depression. Take with the head raised (JIA YI JING).
Commentary: The *Fa Hui* states two cun. The *Ru Men*, *Bao Jian*, *Da Cheng*, and *Jin Jian* state one cun and six fen. All are incorrect. They also do not conform to the bone measurements. The first and second ribs are dense and not sparse. Taking one cun refers to the meaning of taking the interspace between bones.
Zi Gong (JIA YI JING): One cun and six fen below Hua Gai, in the depression. Take with the head raised (JIA YI JING).
Yu Tang (NAN JING / Classic of Difficult Issues), also known as Yu Ying (JIA YI JING): One cun and six fen below Zi Gong, in the depression. Take with the head raised (JIA YI JING).
Dan Zhong (NAN JING), also known as Yuan Er (JIA YI JING), also known as Shang Qi Hai (LEI JING), also known as Yuan Jian (DA QUAN). One cun and six fen below Yu Tang, in the depression. Take with the head raised (JIA YI JING), horizontally aligned with the midpoint between the two nipples (QIAN JIN FANG). Prohibited for needling (QIAN JIN YI FANG).
Commentary: The character "Dan" is written as "HT" in the *Qian Jin Fang*, *Qian Jin Yi Fang*, and *Wai Tai Mi Yao*. It was generally used in ancient texts. The *Da Quan* states: Also known as HT Zhong, do not take here. The *Zi Sheng* and *Lei Jing* write "wo" (lie down). The *Jin Xin Zang Pian* states: For chest bi pain, moxa the HT Zhong for one hundred zhu. The acupoint is one cun above Ji Wei, prohibited for needles. This is incorrect.
Zhong Ting (JIA YI JING): One cun and six fen below Dan Zhong, in the depression. Take with the head raised (JIA YI JING).
Commentary: The *Ming Tang* states one cun below Dan Zhong. The *Ru Men* and *Jin Jian* state one cun above Ji Wei. This results from dividing the distance from Tian Tu to the Qi Gu into eight cun and four fen...
The second row of the chest starts from the Shu Fu acupoint, two cun on either side of the Xuan Ji, descending to the Bu Lang acupoint, totaling twelve acupoints.
Shu Fu (SU WEN), also known as Shu Fu (DA QUAN, BAO JIAN): Below Ju Gu, two cun lateral to the Xuan Ji, in the depression. Take with the head raised (JIA YI JING).
Commentary: In the *Jia Yi Jing*, *Wai Tai Mi Yao*, and *Ming Tang*, "Shu" is written as "Shu" (transport), and the same applies below. The *Zi Sheng*, *Sheng Ji Zong Lu*, *Da Quan*, and *Bao Jian* write "Shu". The *Qian Jin Fang*, *Qian Jin Yi Fang*, *Fa Hui*, and *Ju Ying* write "Shu", which is correct. Shu Fu comes from the *Nei Jing*. "Shu", "Shu", and "Yu" are interchangeable due to phonetic similarity. The *Da Quan* and *Bao Jian* consider them one name; we temporarily follow this. The *Qian Jin Yi Fang* writes "wo" (lie down). The *Wai Tai Mi Yao* writes "yang wo" (supine lie). Here, "Ju Gu" refers to the anterior part of the shoulder/clavicle area, not an acupoint name. The Xuan Ji, according to the secondary commentary, is the Ren Mai, which is incorrect. The *Da Quan* states: Three cun lateral to the Xuan Ji, which is wrong. The *Yi Men Zhai Yao* states: When taking points in the chest region by rib spaces, one should not rigidly adhere to one cun and six fen; this shows an understanding of point location methods.
Shen Cang (JIA YI JING): One cun and six fen below Shu Fu, in the depression. Take with the head raised (JIA YI JING).
Commentary: The character "Er" is written as "Wo" in the *Qian Jin Yi Fang*. The *Wai Tai Mi Yao* writes "Yang Wo". And in the bone interspaces, one point is taken each, same as above. The *Ming Tang* says: One cun, which is incorrect.
Subsequent books provide interpretations that each point is two cun from the midline, which is incorrect. See below for the explanation.
Shen Cang (JIA YI JING): [Note: Text repeats Shen Cang header, likely a formatting error in source, proceeding to next distinct point description based on context].
Ling Xu (JIA YI JING): One cun and six fen below Shen Cang, in the depression. Take with the head raised (JIA YI JING).
Commentary: The *Qian Jin Fang* says: Xu may be written as Qiang. The *Ru Men* writes Xu. The *Ju Ying* and *Yi Tong* state "open one cun from the midline", which is an error.
Shen Feng (JIA YI JING): One cun and six fen below Ling Xu, in the depression. Take with the head raised (JIA YI JING).
Bu Lang (JIA YI JING): One cun and six fen below Shen Feng, in the depression. Take with the head raised (JIA YI JING).
Commentary: The character "Lang" is written as "Lang" in the *Qian Jin Fang*, *Wai Tai Mi Yao*, *Sheng Ji Zong Lu*, and *Zi Sheng Jing*. The *Lei Jing* states: Flanking the Zhong Ting. The *Ru Men* states: Outside the Zhong Ting, which is incorrect. Horizontally aligned with the Zhong Ting, slightly lower by about six fen.
The third row of the chest starts from the Qi Hu acupoint, two cun on either side of the Shu Fu, descending to the Ru Gen acupoint, totaling twelve acupoints.
Qi Hu (JIA YI JING): Below Ju Gu, two cun on either side of the Shu Fu, in the depression. Take with the head raised (JIA YI JING).
Commentary: The *Qi Fu Lun* states: In the chest bones, there is one point each. The *Lei Jing*, *Ju Ying*, *Yi Tong*, Wu Wen Bing, *Jin Jian*, and *Da Cheng* provide interpretations that each point is four cun from the midline; see below for the explanation. The secondary commentary states: Four cun and eight fen above the Ying Chuang. The *Ju Ying*, *Yi Tong*, and Wu Wen Bing omit the word "above". The *Jin Jian* states: One cun below Ju Gu, and both are rigid. The *Bao Jian* states: The *Zi Sheng Jing* says: The six acupoints from Qi Hu to Ru Gen are each four cun from the Ying midline, and spaced one cun and six fen apart. This is not recorded in the current text.
Ku Fang (JIA YI JING): One cun and six fen below Qi Hu, in the depression. Take with the head raised (JIA YI JING).
Commentary: Okamoto writes one cun, which is incorrect. When taking points among the bones, one need not be rigid. The explanation is seen above.
Wu Yi (JIA YI JING): One cun and six fen below Ku Fang (JIA YI JING), in the depression. Take with the head raised (QIAN JIN FANG).
Commentary: The secondary commentary states: Three cun and two fen below Qi Hu. The *Ju Ying* states: Four cun and eight fen below Ju Gu. Those who separate the points and discuss their measurements cannot avoid errors.
Ying Chuang (JIA YI JING): One cun and six fen below Wu Yi (JIA YI JING), in the depression (SHENG JI ZONG LU).
Commentary: The *Zi Sheng Jing* writes "Chuang" as "Chuang", which is the same character. The secondary commentary states: On both sides of the chest, flanking the midline, each four cun apart, four cun and eight fen below Ju Gu, which is an error.
Ru Zhong (JIA YI JING): At the nipple (ZI SHENG), i.e., on the nipple tip (RU MEN). Prohibited for needling and moxibustion (JIA YI JING). Light needling (ZI SHENG, also BAO JIAN, citing RU MEN: Needle should be shallow, insert two fen; not seen in current text).
Commentary: The *Jia Yi Jing*, *Qian Jin Fang*, *Qian Jin Yi Fang*, and *Wai Tai Mi Yao* have no commentary. This is the subtlety of ancient texts. The secondary commentary states: Below the Ying Chuang is the Ru Zhong. The *Zi Sheng Jing* commentary says: Also spaced one cun and six fen apart. The phrase "spaced apart" does not make sense here. The *Lei Jing* states: In one transmission regarding retained placenta, moxa the end below the nipple until it falls off.
Ru Gen (JIA YI JING), also known as Xi Xi (QIAN JIN FANG): One cun and six fen below the nipple, in the depression. Take with the head raised (JIA YI JING). Below the nipple, in the depression of the first intercostal space (QIAN JIN FANG).
Commentary: The *Qian Jin Fang* states: Xi Xi is indeed in the depression of the first intercostal space below the nipple. Now moved to the alias section. The *Bao Jian* writes one cun and four fen, which is incorrect. The *Yi Xue Zheng Chuan* states: For women, in the depression where flesh rises below the breast; only the two characters "depression" are applicable for taking the point.
The fourth row of the chest starts from the Yun Men acupoint, two cun on either side of the Qi Hu, descending to the Shi Dou acupoint, totaling twelve acupoints.
Yun Men (SU WEN): Below Ju Gu, two cun on either side of the Qi Hu, in the depression where the artery can be felt. Take with the arm raised (JIA YI JING). Inserting too deeply causes reverse breathing (JIA YI JING). Prohibited for needling (RU MEN).
Commentary: The *Qi Xue Lun* states: Twelve acupoints of the Ying Shu. The secondary commentary states: Referring to Yun Men, Zhong Fu, Zhou Rong, Xiong Xiang, Tian Xi, and Shi Dou; left and right together make twelve acupoints. The *Zi Sheng Jing* writes "Yun" as "Yun", which is generally used. The secondary commentary provides an interpretation that each point is six cun horizontally from the Ren Mai. The *Lei Jing* and *Ju Ying* follow this; see below for the explanation.
Zhong Fu (MAI JING / Pulse Classic), also known as Ying Zhong Shu (JIA YI JING), also known as Fei Mu (QIAN JIN FANG), also known as Fu Zhong Shu (DA QUAN). One cun below Yun Men, in the depression of the third intercostal space above the nipple where the artery can be felt. Take with the head raised (JIA YI JING). Prohibited for moxibustion (RU MEN).
Commentary: For all acupoints in the chest region, since they are located in the bone interspaces, no precise measurement is needed; when measurements are given, they refer to the general outline. The *Qian Jin Fang* and *Wai Tai Mi Yao* state: One cun and six fen. The *Ming Tang*, *Da Cheng*, and Okamoto follow this, which is incorrect. The sternum is shaped like a recumbent moon; therefore, the measurement in the second row is slightly longer, while the third row is level with the midline. Scholars should observe this. "Ying Zhong Shu" is written as "Ying Shu" in the *Ju Ying* and *Yi Tong*. The *Su Wen* states: Ying Shu. The secondary commentary states: The Zhong Fu acupoint.
Zhou Rong (JIA YI JING): One cun and six fen below Zhong Fu, in the depression. Take with the head raised (JIA YI JING). Prohibited for moxibustion (RU MEN, BAO JIAN).
Commentary: The character "Rong" is written as "Ying" in the *Jia Yi Jing*, which is an error. Corrected now.
Xiong Xiang (JIA YI JING): One cun and six fen below Zhou Rong, in the depression. Take with the head raised (JIA YI JING).
Tian Xi (JIA YI JING): One cun and six fen below Xiong Xiang, in the depression. Take with the head raised (JIA YI JING).
Shi Dou (JIA YI JING): One cun and six fen below Tian Xi, in the depression. Take with the head raised (JIA YI JING). Take with the arm raised (QIAN JIN FANG).
Commentary: The *Jin Jian* states: Ascend three cun from Fu Ai, or descend six cun and four fen from the third intercostal space above the nipple where the artery can be felt. This is overly circuitous. The secondary commentary states: Yun Men and Shi Dou are taken with the arm raised; the rest are taken with the head raised.