Symbols are based on abstract ideas that have no inherent value beyond what is assigned to them by man.

In written language, symbols are the medium. Words do not represent anything in reality, but rather, the idea of something else, be it an object in reality or a purely abstract idea, such as an action.

Visual art is an intuitive, feeling medium, not so much one for concrete ideas: that is what illustration is for.

The art itself should hold some kind of intrinsic value, ideally based on the imagery within the art piece alone. How the artist does this will depend entirely on their intuition, their ability to communicate inherent Truths in reality, having a profound effect on the viewer.

If Truth is to be communicated through a visual piece of art, it should pierce the viewer's subjectivity directly rather than get caught up in the pretenses and clumsiness of symbolism.

I define symbols as such: Imagine a "political" painting with a bunch of babies on the bottom, and a dark figure looming overhead. The artist must explain that the babies represent the aborted children of the world, and the dark figure represents all Pro-Choicers. This is symbolism.

Imagine another political piece, where a black circle is placed far apart from a white square on the opposite side of the image. "this represents segregation", the artist will say. Another example of blatant, boring symbolism. The idea behind the symbol may have an impact, the aesthetic quality of the image may have an impact, but the image in itself does not!

The image lacks any soul!

Ideally, an image should have a soul, and be free from contrived and unimaginative symbols. This is not to say that art will ever be 100% free from symbols -- it shouldn't necessarily be so. This is when an understanding of universal, trans-cultural symbols are useful to the artist in their communicative endeavors.

From Zdzislaw Beksinski:
"When I paint a face, crucifixion, mountains, the sea, human bodies, i.e. themes everyone is familiar with, as for centuries they have been perpetuated in thousands of traditional paintings, then I can expect the viewer to easily follow the path of my given variations. Should these themes be more exotic and esoteric in nature, then I could reasonably expect the viewer to be unable to follow my variations and become stranded."

The ideal painting relies not on symbolism. Nor does it wish to just "communicate an idea". It wants to immerse the viewer in an experience of Truth.