The principle of conceptualization provides a larger scope for an understanding of theoretical formulations involved in critical systems. Indian critical systems like Rasa and Dhvani on the one hand and T.S. Eliot’s ideas on Unification of sensibility and Impersonality on the other organise effects around underlying structures of conceptulisation. In Rasa and Dhvani systems, artistic categories like Bhava, Vibhava, Anubhava, Sthayi Bhava and Sancari Bhava create appropriate signification in the form of cognition, transformation, applicability, replacement, restoration, idealization and correlation of primary categories and primary models. The methodical perspective obtained through such a measure, of necessity, creates genuine artistic environment and the case of Rasa and Dhvani is settled once and for all. T. S. Eliot’s ideas on Impersonality and Dissociation of sensibility, in a different way, come to be determined by structures of conceptualization in the form of emotion, feeling, language, sensibility, experience and the imagination. Through each of these, appropriateness or inappropriateness of an approach to artistry is decisively proved.