〈論味〉給定一種藝術表演以及授收的程式，建立一個知體系，如「產生於情由、情態和不定情的結合。」 這個知識體系背後蘊含的藝術哲學概念幾乎是與西方截然不同的。 印度戲劇，在印度宗教和限學文化概念折衝下成了普遍印度人達到脫離輪迴體驗極致喜樂的途徑之一。西方戲劇起源的戲劇目的不是為了達致宗教意涵的崇高，即使是在亞理斯多德的滌淨概念中，自我意仍是清晰可見的，在印度的概念看起來，不脫離自我意就不可能脫離輪迴，就不可能達致宗教意涵的崇高。 除了捨棄自我意識，達致宗教意涵的崇高外，另一個關注焦點在於味論美學與身體之間的關連，味論美學著重的是身體體驗的傳遞，而非自我思維的推論。這也是西方戲劇概念不同的地方。

Rasa set up a pattern for the performing art along with the relation and psychological mechanism between the performer and the audience, found a knowledge system, ex., ‘Rasa is the cumulative result of vibhavea, anubhava and vyabhicari bhava.’ The concept of philosophy of art contained in this knowledge system is in no way similar to the western. Sankrit drama, repulse under the religious and aesthetic culture is one of the ordinary Indians breaking away format he transmigration as well as experiencing the supreme bliss methods. On the contrary, western was never meant to be like that, ego lies in the back even in the Aristotelian katharsis theory. For Sanskirt concept, achieve supreme bliss or moksha means renounce self ego. Furthermore, rasa focus on body experiencing, more than western ego-centric reasoning.