Abstract
In a famous text called Laus Dedali. Tăcere, historian Vasile Pârvan imagined an Athenian sculptor: Alegenor. While he sculpted, the artist felt that silence was the shortest route to himself, instilling a more personal and atypical expressiveness (less tributary to the Greek aesthetical canon). Pârvan does not use the word sculptor (he tolerates the partial synonym digger: seeker, hunter, explorer of all paths within a rock). The shapeless rock is a labyrinth, a disentangled bunch of roads towards a possible Centre of the creator, towards the ideal form of his work, which corresponds without coinciding with it, which fits without replacing it. A digger penetrates the rock, a carver chips it off, thus remaining more or less on the outside. Alegenor’s silence is inquisitive: he touched every doubt to provide an exit, a solution, a road to his existence. Such a silence placed one’s being on a pathway, at the end of which man would openly acknowledge what he would choose to be.