The reason for which the subject of conceptual symbolism in the fine arts is far from definiteness consists in an ambiguity and blurring of the fundamental terms determining this type of creativity. So, for example, the vast majority of public is considered that the term conceptual painting has full authority for existence without any quotes and isn't an oxymoron at all.

  While following determination of the classic of conceptualism J. Kosuth, conceptual art is action, or set of the ideas of action, but not the picture of a fragment of this phenomenon in any way. Repeating the point of vew of some conceptual masters occurred sad substitution of art substance of the art-works by it’s conceptual ideas. Moreover, as we can put these ideas only into words, there was a substitution of a genre with the result that we got a story or the verbal description of action with a certain illustration.  Long lists  with names of conceptual artists like Sarah Hinckley, Robert Rauschenberg,  Soll LeWitt, Fieroza Doorsen, Debra Ramsay and many-many others, - with works foggy enough and not clear without the developed explanations, - only strengthen this opinion. It is very curious that in this situation the role of the person interpreter of similar objects, the specialist which is a conductor in the tangled world of conceptual art extremely increases. And here an object of art, being only an illustration, purchases clearly secondary nature.

     Without interfering in competence of the above-stated author concerning conceptual art at all, we will dare to assume that similar art of a concept simply has no attitude toward fine arts, or that communication between them is very small. We can also assume that conceptual art is the closed and limited territory with the laws of the genre reminding literary and art criticism existing in it.

      As for conceptual symbolism, it, using specific and recognizable symbols, quite belongs to the fine arts. The used images are rather bright, colourful and symbolical, and their conceptual reasoning- in their availability on the mental or subconscious level. Such art object needs the minimum portions of the verbal notes which is often limited to its name. Highlighting the conceptual symbolism as an artistic stream, we allocate the image-symbol as the principle artistic impact and, at the same time, as the concept underlying this principle. Thus the concept of an object of creativity is expressed through symbols of its implementation in a visual form.