{"id":5215,"date":"2017-08-25T13:27:49","date_gmt":"2017-08-25T12:27:49","guid":{"rendered":"http:\/\/www.imprentagraficar.es\/?p=5215\/"},"modified":"2017-08-25T13:27:49","modified_gmt":"2017-08-25T12:27:49","slug":"la-invencio-de-la-impremta-cop-a-l-obscurantisme-religios","status":"publish","type":"post","link":"https:\/\/www.imprentagraficar.es\/ca\/la-invencio-de-la-impremta-cop-a-l-obscurantisme-religios\/","title":{"rendered":"La invenci\u00f3 de la impremta, cop a l’obscurantisme religi\u00f3s"},"content":{"rendered":"

Reflexions sobre la visita al Museu Plantin-*Moretus d’Anvers, part de la Hist\u00f2ria de la Impremta<\/span><\/h3>\n

Tots els viatges, per m\u00e9s que minuciosament planificats, ofereixen alguna sorpresa. Sovint s\u00f3n aquestes sorpreses, m\u00e9s que els monuments, les que ens deixen una petjada. El passeig per Estarrufi (Sic\u00edlia) o sota els Dark Hedges d’Irlanda del Nord, la visita al Norman Rockwell Museum de Massachussets o la vistositat del poblet bavar\u00e8s de Oberammergau s\u00f3n part d’aquestes sorpreses.<\/span><\/p>\n

Aix\u00f2 va ser el que vaig sentir quan vaig visitar el <\/span>Museu Plantin-*Moretus<\/b><\/a>,<\/b> o <\/span>Museu de la Impremta<\/b> a Anvers. Ni sabia de la seva exist\u00e8ncia fins a pocs minuts abans d’entrar per la seva porta. Sent filla i n\u00e9ta d’impressors dels de tota la vida, i despr\u00e9s de trenta anys treballant en una petita <\/span>impremta en l’Eixample de Barcelona<\/span><\/a>, no podia deixar passar l’oportunitat. Aix\u00ed, despr\u00e9s de llegir pels carrers d’Anvers una succinta descripci\u00f3 del <\/span>museu a la guia d’El Pa\u00eds<\/span><\/a>, em vaig encaminar fins al carrer Vrijdagmarkt 22.<\/span>
\n<\/p>\n

<\/span><\/p>\n

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La seva hist\u00f2ria va comen\u00e7ar en temps de Felip II, a la segona meitat del segle XVI. Ja feia uns quants anys que Gutenberg havia inventat la impremta per\u00f2 l’invent encara no s’havia est\u00e8s per Europa. Un artes\u00e0 del cuir d’origen franc\u00e8s assentat a Anvers, Christophe Plantin, va muntar una impremta amb el benepl\u00e0cit del propi Felip II, amb l’enc\u00e0rrec d’imprimir gens menys que 1200 exemplars de la famosa B\u00edblia Pol\u00edglota Complutens, o B\u00edblia R\u00e8gia. La Primera Edici\u00f3 d’aquesta B\u00edblia, patrocinada pel <\/span>Cardenal Cisneros<\/span><\/a>, havia estat molt limitada i era ja impossible trobar exemplars, la qual cosa va portar a Felip II, molt devot, a promoure una nova edici\u00f3.<\/span><\/p>\n

Felip II va portar el seu enc\u00e0rrec a Anvers, llavors en territori espanyol, la qual cosa va suposar l’\u00e8xit de la impremta de Plantin, que no va deixar de cr\u00e9ixer fins a la seva mort en 1589. El negoci va passar llavors a les mans del seu gendre, Jan Moretus. En 1859 l’\u00faltim Moretus va vendre la impremta a la ciutat d’Anvers. Es va convertir llavors en el que ara \u00e9s, un dels museus m\u00e9s antics i bonics d’Europa.<\/span><\/p>\n

El contingut del museu \u00e9s fascinant, especialment per a una fil\u00f2loga cl\u00e0ssica de formaci\u00f3 i impressora de professi\u00f3. Com descriure l’emoci\u00f3 en veure un exemplar de la B\u00edblia de Gutenberg impr\u00e8s abans de 1461? Vaig perdre el compte de la quantitat de lletres de plom, encunys, matrius, planxes de fusta i de coure. Vaig contemplar el taller on es fabricaven artesanalment els tipus, les dues premses m\u00e9s antigues del m\u00f3n. A la sala amb taules de roure a la llum dels finestrals vaig poder imaginar als correctors, erudits coneixedors de l’holand\u00e8s i el franc\u00e8s, sovint tamb\u00e9 de l’espanyol, itali\u00e0, grec i llat\u00ed, de vegades de l’hebreu i de l’arameu: llegeixen les proves que es fan entre el proc\u00e9s de la tipografia i la impressi\u00f3 real.<\/span><\/p>\n

Plantin era extremadament acurat a l’hora de triar el <\/span>tipus de lletra adient<\/b>. Al principi ha de treballar amb tipus que s\u00f3n tamb\u00e9 utilitzats pels seus col\u00b7legues, per\u00f2 aviat Plantin instal\u00b7la la seva pr\u00f2pia fosa de tipus, i utilitza fonts m\u00e9s exclusives de dissenyadors francesos com Garamont i Granjon.<\/span><\/p>\n

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 <\/p>\n

Abans de la sortida del Museu, asseguda al peu d’un exemplar del temut <\/span>Index librorum prohibitorum<\/span><\/i><\/a> em vaig posar a meditar sobre el poder que va tenir <\/span>la impremta per lluitar contra l’obscurantisme de la religi\u00f3<\/b>. Fins a l’aparici\u00f3 de la Impremta, a mitjan segle XV, els pocs exemplars escrits que existien en tot Occident eren els manuscrits, de tem\u00e0tica b\u00e0sicament religiosa, que es conservaven a les biblioteques dels monestirs. Ning\u00fa excepte les m\u00e0ximes autoritats religioses, tenia acc\u00e9s al contingut d’aquests manuscrits. Fins i tot el Llibre per excel\u00b7l\u00e8ncia, la B\u00edblia, nom\u00e9s era accessible als homes de l’Esgl\u00e9sia, que eren els \u00fanics que sabien llegir el llat\u00ed o el grec (o simplement llegir).<\/span><\/p>\n

Aix\u00ed, la plebs illetrada no podia con\u00e8ixer d’aquests textos sagrats llevat pel que els capellans els llegien en llat\u00ed i els explicaven en les misses i actes religiosos als quals assistien per obligaci\u00f3. L’acc\u00e9s a la cultura estava completament restringit. Els llibres prohibits estaven a l’abast d’uns pocs encarregats de criticar i censurar. La majoria del clergat solament tenia acc\u00e9s als comentaris posteriors sobre els manuscrits mutilats.<\/span> Solament la contund\u00e8ncia inquisitorial permet entendre tanta submissi\u00f3.<\/span><\/p>\n

En tal context va arribar la impremta, que permetia crear milers de c\u00f2pies d’un llibre i accedir a qualsevol text, religi\u00f3s o prof\u00e0, quan no directament her\u00e9tico. El que semblava impossible anys enrere, ara est\u00e0 a l’abast de qualsevol. Quin perill, quin risc per al dogmatisme: una persona llegeix i interpreta lliurement! Ad\u00e9u al control del pensament, a la submissi\u00f3, a l’obedi\u00e8ncia cega, al monopoli sobre el pensament.<\/span><\/p>\n

La censura va ser obstacle de la difusi\u00f3 cultural, per\u00f2 no va poder parar l’avan\u00e7 de les premses a Occident, la qual cosa va suposar potser el comen\u00e7ament de les guerres d’idees: Reforma, Contrareforma, Galileu, la Inquisici\u00f3, el INDEX, la Il\u00b7lustraci\u00f3, el <\/span>Sapere Aude <\/span><\/i>de Kant. La vict\u00f2ria aquestes guerres no va ser en favor d’unes o altres idees, sin\u00f3 de totes, de la llibertat. Jo no s\u00e9 si D\u00e9u ha mort, com anunciava Nietzsche, per\u00f2 s\u00ed ha mort l’obscurantisme, la manipulaci\u00f3 del pensament que va sumir a Europa en una aturada cultural de mil anys. <\/span><\/p>\n

La gran arma d’aquesta guerra va ser, estic conven\u00e7uda, la impremta al segle XV. Gr\u00e0cies, Sr. Gutenberg.<\/span><\/p>\n

Plena d’orgull gremial, vaig sortir finalment del museu. A la tarda m’esperava un altre, el Museu del Diamant. Per\u00f2 aquesta ja \u00e9s una altra hist\u00f2ria.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Reflexions sobre la visita al Museu Plantin-*Moretus d’Anvers, part de la Hist\u00f2ria de la Impremta Tots…<\/p>\n","protected":false},"author":1,"featured_media":5076,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[115],"tags":[],"yoast_head":"\nLa invenci\u00f3 de la impremta, cop a l'obscurantisme religi\u00f3s Imprenta GrafiCar<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.imprentagraficar.es\/ca\/la-invencio-de-la-impremta-cop-a-l-obscurantisme-religios\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La invenci\u00f3 de la impremta, cop a l'obscurantisme religi\u00f3s Imprenta GrafiCar\" \/>\n<meta property=\"og:description\" content=\"Reflexions sobre la visita al Museu 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