推荐回答（1个）
1、“性情之风标，神明之律吕”，是气韵功能的两个侧面。“神明之律吕”即文章、文学的气韵，是艺术的本体。艺术所呈现的外在世界的普遍规律，统摄天地自然和政治人事。宇宙的秩序，世间的和谐，是艺术追求的理想境界。因此艺术应该与整个宇宙、人际关系的合规律性相一致。这种一致是通过个体心理的情感官能感受实现的，只有艺术表达的情感与宇宙的秩序、人际的和谐、人体的身心同构一致，才能相互感应。所以，艺术的情感又须与“神明之律吕”相交流相呼应，契合一致，并且以后者为情感所应具有的形式、秩序、逻辑，此即“性情之风标”。
出自：萧子显《南齐书·文学传论》
原文如下：文章者，性情之风标，神明之律吕，蕴思含毫，游心内运，放言落
纸，气韵天成。（《南齐书·文学传论》）
2、这是萧统编辑文选的标准。也是萧统对于文学的定义。
事，指作品描写的对象；沉思，深沉的构思；义，指思想内容；翰藻，指作品的辞采。意思是，文学作品所描写的对象具有积极意义，其内容的表达、形式的安排，都经过作者深沉的构思、想象，其辞藻、音律、用典等艺术形式都比较讲究。这句话说明了萧统对于文学与历史等学术著作的区别有所认识，也能作为区别文学与历史的标志。
此句出自萧统《文选》。
原文：至于记事之史,系年之书,所以褒贬是非,纪别异同,方之篇翰,亦已同。若其赞论之综缉辞采,序述之错比文华,事出于沉思,义归乎翰藻。故与夫篇什,杂而集之。
PS。楼主似乎写错了，“翰藻”非“汉藻”。
3、这是作者对“文”的定义。
梁元帝萧绎《金楼子·立言篇》对文笔之分的说明： "至如不便为诗如阎纂，善为章奏如伯松，若此之流，泛渭之笔。吟咏风谣，流连哀思者，谓之文"他认为吟咏风谣，流连哀思者是"文"，而“吟咏风谣，流连哀思者”在南北朝以前基本上都是用有韵的文章写的。
小知识：最早有"文"这个概念的应该是王充，他在其《论衡》中说；"故夫能说一经者为儒生，博览古今者为通人，采掇传书以上书奏记者为文人，能精思著文，连结篇章者为鸿儒。故儒生过俗人，通人胜儒生，文人逾通人，鸿儒超文人。"他认为"采掇传书以上书奏记"、"精思著文，连结篇章"等是文人、鸿儒所做，已经有了文学独立的意思，并且已经把这些散体之作作为文了。后来正是因为文学成了文学的专业，才使文体兴旺起来，然后有了声律之说，"文"作为一种文体才出现了。因为"文"为有韵的文，所以说"文"作为一种题材，也是随着声律的出现而出现的！《南史·范晔传》云；"年少中，谢庄最有其分。手笔差易，于文不拘韵之故也。"范、谢是南朝·宋知道韵律的人，他们是认为"文"应该是有韵的文章的，不然不会说"于文不拘韵之故也"的话了。梁元帝萧绎《金楼子·立言篇》的此句是对文笔之分进一步的说明。
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