Just as painting of Art Nouveau abandoned the classical form in an attempt to convey the emotional component of creativity, the painting of conceptual symbolism uses the form available to express the author's idea, but these forms (or forms) do not always correspond to our traditional ideas. Being forms of ideas, forms of the development of ideas which are in reality the forms of movement, they are transmitted visually not so much by symbols as by circular symbols, providing not only true, but also dynamic associations. But one should not think that such an approach carries some fundamentally new moment - omne novum vetus oblitus est - all the new is forgotten old, and that the principles of circular movement were well known to the masters of painting of past years. The "circular theme" in painting is clearly explored in articles on Old Russian icon painting by Academician M.V. Alpatov, and today we can confidently say that the circle is not only a traditional symbol of heaven, light and clergy perfection, but also that this theme is not only an artistic technique, but permeates all the work of authors, being their deep ideological basis. At the same time, it does not matter whether the circle is distinguished only by a line, or by color, texture or even rhythm - it always remains the basis of the artistical composition, being not only, as Plato mentioned, the main body, but also being an image of harmonic perfection. Including this, the "theme of the circle" is so popular in the painting of Conceptual Symbolism, that it provides those aspects of the surrounding world that do not lie on the surface, but, nevertheless, form the basis of its existence.