As always, there are some people too late for the party (like me fi.)
But I wish you a happy birthday afterparty!
But I wish you a happy birthday afterparty!
HIGH HOPES, WILD MEN AND THE DEVIL’S JAW - Willem Barentsz Kolderstok 1:50
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Hello Hans - absolutely no problem, my friend! It's always nice to hear from you - thank you very much for the wishes!
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Hi Janos. Thank you for the birthday wishes, my friend! Yes, I am looking forward to Pandora and to when I get the time to start the build properly. When are you going to show us pics of the completed Batavia - you must be just about done with her?
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With temperatures plummeting and snow expected for tomorrow, the Nantong government has decided that for safety reasons all schools will be closed for tomorrow. We will make up the day on Sunday, but it does mean that the weekend is coming a day earlier. Hopefully, there will be some shipyard time.
Good morning Heinrich. I missed your birthday. Happy belated birthday my friend. Cheers GrantHallo my friend , Hallo @Heinrich
we wish you alll the BEST and a HAPPY BIRTHDAY
Enjoy your special day
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Hi Grant! No worries, my friend - thank you very much for the wishes!
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Dr Friends
Us modelers are often conflicted whether to pursue historical accuracy in a build or to opt for artistic interpretation. Heck, the Bluenose Group Builders have even coined a phrase (AL-FI) specifically for this. As those of you who have followed the WB build will know, I attempted to achieve historical accuracy based on hundreds of hours of research. In the end, I believe I have ended up with a reasonable interpretation of what Willem Barentsz's ship possibly could have looked like. However, I will be the first person to admit that it is by no means definitive - a feat which I believe is impossible to achieve with Dutch ships of the 16th century. In fact, I seriously doubt whether it is a feat that can be achieved with any Dutch ship.
I was therefore very intrigued by an article entitled "Artist Vladislav Zhdan" which appeared in the PSG Modeler on 31/12/2021. The following is an excerpt from this article. For the full article, please click the link below:
http://www.bnk.sobdelo.ru/2021/12/31/artist-vladislav-zhdan/
HISTORICAL ACCURACY VS ARTISTIC INTERPRETATION
STORY
Vladislav Zhdan is a well-known ship modeler in Russia. A recognized master of his craft, his models are in high demand both in Russia and abroad.
However, it was not as a modeler that Vladislav first made his mark. In 1974, Zhdan took part in the second exhibition of nonconformists in Moscow on September 29, 1974. Unlike the first, so-called “Bulldozer Exhibition” which was dispersed by the authorities, this one was allowed to go ahead. After these turbulent events, Vladislav committed himself entirely to his paintings and continued to work as an artist. Soon, his works started to sell, and he could make a livelihood out of his paintings.
In 1982, two events took place which changed Vladislav’s life. “At the time that my son, Igor, was born, my wife and I were living in my art workshop. I quickly realized that I would not be able to paint for a couple of months in the midst of day and night vigils with a newborn. And suddenly I remembered that from early childhood I had a dream to have a model of an old sailing ship at home. This is where it all started …” A plastic kit of a model sailing ship that his father had given to him in his distant childhood was the subject of his first build and has survived to this day. This model opened the way for Vladislav to start with ship modeling.
This first construction was so successful that Vladislav became seriously interested in ship modeling. “It was a very difficult business at the time. There was no internet, no fancy or specialized tools, and very little information available; only a thirst for construction as the driving force.” However, as so often happens in cases like these, people with the necessary expertise started to seek out Zdhan and soon he had an experienced mentor who gave him blueprints for a Hanseatic hulk and advised him during the construction process. In 1984, this model took second place at the Moscow Shipbuilding Championship and 6th place at the USSR Championship, which was held in St. Petersburg, (Leningrad).
A new page had begun in Vladislav’s life. His models were in demand, and were eagerly bought by friends, artists and businessmen. Soon, collectors from other countries began to buy Vladislav’s models and today his works can be found in private collections in Denmark, Sweden, Norway, Yugoslavia, France, Poland, Great Britain, and Israel.
As time passed, Vladislav Zhdan gained more experience and knowledge, and as far as historical accuracy was concerned, his models were almost “perfect”. However, another important event took place - the artist in Vladislav woke up with renewed power. And this part of his nature began to protest against the technical precision that underlies the construction of models.
Whilst it is a well-known fact that modelers, when building a model, attempts to create a miniature copy of the real object, the very fact that it is a copy that is being produced, evoked protests from the artist’s creative nature. Here is how Vladislav himself spoke about this conflict:
“The point is that modelers are trying to create an exact copy, and for that they are rewarded in modeling competitions - the more accurate the copy, the higher reward. To the artist, the word “copy” is a curse. In art, only the original is valuable. There can be as many copies as you like; they are of no interest to anyone in the art world.
Already on Vladislav's first models, the judges at various championships mercilessly docked points for any artistic liberties in his models. "At the IX World Championship in Gdansk in 1998, my model attracted an audience which was no less than that of the winning model. And yet, I placed 102nd out of 102 participants, and I was the only participant who was not awarded a medal." That was the moment that the “technician” and artist, in Vladislav, came into direct conflict with each other.
“As an artist, I understood that a hundredfold or fifty-fold MECHANICAL reduction of the ship’s size could not lead to anything good. It would “kill” the very image of what the artist should be trying to create …
The laws that pertain to small and large forms are different. Just as the miniature cannot be enlarged to the size of a wall mural, a wall fresco made into a miniature, will simply “perish” and not look good. If the ant falls from the height of the kitchen table, it will run further, as if nothing had happened. If a person falls from the same proportionally increased height, only a wet spot will remain of him. The laws of large and small forms … do not coincide. Miniatures live according to one law, monumental things according to another one. To the artist a successful model is one in which the artist understood how to preserve the charm of a large ship in the small scale of a model.
I started to concentrate on the IMAGE of the ship …, adopting to its proportions those elements that were instrumental in creating this image. I simply could not bring myself to do COPIES anymore. I deliberately rejected the classics of modeling, and I began to create PORTRAITS of ships in the way that I felt it. As an artist, I was no longer interested in repeating copies of historical vessels, rather I began to create my own portraits of historical ships.
This is how completely unusual models of old sailing ships were born; models which evoked a strong response in the souls of people. Whereas everyone is accustomed to seeking first and foremost technical perfection in models, Vladislav Zhdan expanded the horizon of perception thereby inviting his audience to seek first the artistic image - the very nature and essence of the modeled object.
This did not fit into the usual framework of ship modeling, and many modelers were at a loss. Everyone is used to the fact that the model is a miniature copy of the original. However, Vladislav Zhdan’s models were not copies. Strictly speaking, they were not models either, since they have become independent art objects, detached from their original prototypes. This is how Vladislav Zhdan describes this transformation:
“I was interested in ships of the 16-17-18 centuries. As there was already enough information available on these ships, my main task was to create a LIVING ship.” That is why he often creates waterline models which allow him to create portraits of the visible part of the ship along the waterline. This decision unties the hands of the artist even more and makes it possible to make the necessary changes in the proportions and sacrifice INVISIBLE details for greater life believability and persuasiveness.
The classical approach to ship modeling is limited to a formal-technical approach, which creates an accurate but lifeless form of a historical vessel. Practically no one thinks about the inner essence of the ship, about its “soul”, and for me this is more important than recreating its exact anatomical resemblance.”
Although this approach did not fit into the existing canons of ship modeling, the undoubtedly bright style of Vladislav Zhdan’s models quickly found its admirers and won the hearts of many collectors around the world.
The work of Vladislav Zhdan
Us modelers are often conflicted whether to pursue historical accuracy in a build or to opt for artistic interpretation. Heck, the Bluenose Group Builders have even coined a phrase (AL-FI) specifically for this. As those of you who have followed the WB build will know, I attempted to achieve historical accuracy based on hundreds of hours of research. In the end, I believe I have ended up with a reasonable interpretation of what Willem Barentsz's ship possibly could have looked like. However, I will be the first person to admit that it is by no means definitive - a feat which I believe is impossible to achieve with Dutch ships of the 16th century. In fact, I seriously doubt whether it is a feat that can be achieved with any Dutch ship.
I was therefore very intrigued by an article entitled "Artist Vladislav Zhdan" which appeared in the PSG Modeler on 31/12/2021. The following is an excerpt from this article. For the full article, please click the link below:
http://www.bnk.sobdelo.ru/2021/12/31/artist-vladislav-zhdan/
HISTORICAL ACCURACY VS ARTISTIC INTERPRETATION
STORY
Vladislav Zhdan is a well-known ship modeler in Russia. A recognized master of his craft, his models are in high demand both in Russia and abroad.
However, it was not as a modeler that Vladislav first made his mark. In 1974, Zhdan took part in the second exhibition of nonconformists in Moscow on September 29, 1974. Unlike the first, so-called “Bulldozer Exhibition” which was dispersed by the authorities, this one was allowed to go ahead. After these turbulent events, Vladislav committed himself entirely to his paintings and continued to work as an artist. Soon, his works started to sell, and he could make a livelihood out of his paintings.
In 1982, two events took place which changed Vladislav’s life. “At the time that my son, Igor, was born, my wife and I were living in my art workshop. I quickly realized that I would not be able to paint for a couple of months in the midst of day and night vigils with a newborn. And suddenly I remembered that from early childhood I had a dream to have a model of an old sailing ship at home. This is where it all started …” A plastic kit of a model sailing ship that his father had given to him in his distant childhood was the subject of his first build and has survived to this day. This model opened the way for Vladislav to start with ship modeling.
This first construction was so successful that Vladislav became seriously interested in ship modeling. “It was a very difficult business at the time. There was no internet, no fancy or specialized tools, and very little information available; only a thirst for construction as the driving force.” However, as so often happens in cases like these, people with the necessary expertise started to seek out Zdhan and soon he had an experienced mentor who gave him blueprints for a Hanseatic hulk and advised him during the construction process. In 1984, this model took second place at the Moscow Shipbuilding Championship and 6th place at the USSR Championship, which was held in St. Petersburg, (Leningrad).
A new page had begun in Vladislav’s life. His models were in demand, and were eagerly bought by friends, artists and businessmen. Soon, collectors from other countries began to buy Vladislav’s models and today his works can be found in private collections in Denmark, Sweden, Norway, Yugoslavia, France, Poland, Great Britain, and Israel.
As time passed, Vladislav Zhdan gained more experience and knowledge, and as far as historical accuracy was concerned, his models were almost “perfect”. However, another important event took place - the artist in Vladislav woke up with renewed power. And this part of his nature began to protest against the technical precision that underlies the construction of models.
Whilst it is a well-known fact that modelers, when building a model, attempts to create a miniature copy of the real object, the very fact that it is a copy that is being produced, evoked protests from the artist’s creative nature. Here is how Vladislav himself spoke about this conflict:
“The point is that modelers are trying to create an exact copy, and for that they are rewarded in modeling competitions - the more accurate the copy, the higher reward. To the artist, the word “copy” is a curse. In art, only the original is valuable. There can be as many copies as you like; they are of no interest to anyone in the art world.
Already on Vladislav's first models, the judges at various championships mercilessly docked points for any artistic liberties in his models. "At the IX World Championship in Gdansk in 1998, my model attracted an audience which was no less than that of the winning model. And yet, I placed 102nd out of 102 participants, and I was the only participant who was not awarded a medal." That was the moment that the “technician” and artist, in Vladislav, came into direct conflict with each other.
“As an artist, I understood that a hundredfold or fifty-fold MECHANICAL reduction of the ship’s size could not lead to anything good. It would “kill” the very image of what the artist should be trying to create …
The laws that pertain to small and large forms are different. Just as the miniature cannot be enlarged to the size of a wall mural, a wall fresco made into a miniature, will simply “perish” and not look good. If the ant falls from the height of the kitchen table, it will run further, as if nothing had happened. If a person falls from the same proportionally increased height, only a wet spot will remain of him. The laws of large and small forms … do not coincide. Miniatures live according to one law, monumental things according to another one. To the artist a successful model is one in which the artist understood how to preserve the charm of a large ship in the small scale of a model.
I started to concentrate on the IMAGE of the ship …, adopting to its proportions those elements that were instrumental in creating this image. I simply could not bring myself to do COPIES anymore. I deliberately rejected the classics of modeling, and I began to create PORTRAITS of ships in the way that I felt it. As an artist, I was no longer interested in repeating copies of historical vessels, rather I began to create my own portraits of historical ships.
This is how completely unusual models of old sailing ships were born; models which evoked a strong response in the souls of people. Whereas everyone is accustomed to seeking first and foremost technical perfection in models, Vladislav Zhdan expanded the horizon of perception thereby inviting his audience to seek first the artistic image - the very nature and essence of the modeled object.
This did not fit into the usual framework of ship modeling, and many modelers were at a loss. Everyone is used to the fact that the model is a miniature copy of the original. However, Vladislav Zhdan’s models were not copies. Strictly speaking, they were not models either, since they have become independent art objects, detached from their original prototypes. This is how Vladislav Zhdan describes this transformation:
“I was interested in ships of the 16-17-18 centuries. As there was already enough information available on these ships, my main task was to create a LIVING ship.” That is why he often creates waterline models which allow him to create portraits of the visible part of the ship along the waterline. This decision unties the hands of the artist even more and makes it possible to make the necessary changes in the proportions and sacrifice INVISIBLE details for greater life believability and persuasiveness.
The classical approach to ship modeling is limited to a formal-technical approach, which creates an accurate but lifeless form of a historical vessel. Practically no one thinks about the inner essence of the ship, about its “soul”, and for me this is more important than recreating its exact anatomical resemblance.”
Although this approach did not fit into the existing canons of ship modeling, the undoubtedly bright style of Vladislav Zhdan’s models quickly found its admirers and won the hearts of many collectors around the world.
The work of Vladislav Zhdan
Nice post! It’s also the way I like to build. Not to achieve an exact copy, but much more a nice model. This is also one of the reasons why I limit myself to 17th century models. There are not much examples, and you have a wide range of freedom in how to do it (as long as you can explain why you do it in that specific way).
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Thank you, Hans - I am glad you liked the post. There are so many great builds on SOS and yet, despite being clinically correct, I just feel that something is lacking. Tree nailing a hull with thousands of trennels may be historically correct, but do not necessarily work according to the law of the miniature. I have to hand it to you, a Kolderstok model is probably the closest any kit builder will get to building a model that captures the "life" element described by Zhdan.
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First off, with reddened cheeks, my very much belated happy birthday wishes. I hope you had a wonderful day, together with your Anna.
Secondly, I read about Vladislav and his work, due to your research on Willem Barentsz expedition ship, where you mentioned his work.
Admittedly I have ambivalent feelings about his work. Having recently build this beautiful Bluenose model, plus having read through quite some articles about it, I am certain that what's currently sitting on the windowsill is by no means a scaled-down copy of its full size namesake. Still, as an engineer I am attracted to the technical aspects of the ship and the scaled-down dimensions do not subtract from the beauty of it.
On the other side of the spectrum I find myself impressed by Vladislav's prowess to disregard all "modeling rules" and still produce recognizable models, in my view with caricature-like features. One could compare his models with the caricatures, drawn by those Parisian artists, often to great amusement of family and bystanders. These portraits are also not realistic, lifelike, but still recognizable, with emphasis on some pysical, often eye-catching attributes.
While it's very unlikely I'll ever purchase one of his models (if ever I could afford them), I am still able to enjoy his frolics, when it comes to his interpretations of historic ships.
Secondly, I read about Vladislav and his work, due to your research on Willem Barentsz expedition ship, where you mentioned his work.
Admittedly I have ambivalent feelings about his work. Having recently build this beautiful Bluenose model, plus having read through quite some articles about it, I am certain that what's currently sitting on the windowsill is by no means a scaled-down copy of its full size namesake. Still, as an engineer I am attracted to the technical aspects of the ship and the scaled-down dimensions do not subtract from the beauty of it.
On the other side of the spectrum I find myself impressed by Vladislav's prowess to disregard all "modeling rules" and still produce recognizable models, in my view with caricature-like features. One could compare his models with the caricatures, drawn by those Parisian artists, often to great amusement of family and bystanders. These portraits are also not realistic, lifelike, but still recognizable, with emphasis on some pysical, often eye-catching attributes.
While it's very unlikely I'll ever purchase one of his models (if ever I could afford them), I am still able to enjoy his frolics, when it comes to his interpretations of historic ships.
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My friend, there is absolutely no need for reddened cheeks with regards to my birthday - thank you for the wishes, they are much appreciated.
I always enjoy your take on things as I find it very refreshing and objective. More often than not, it forces me to consider something I haven't thought of or look at things from an angle I may previously have ignored. I do not think that Zhdan has a problem with scaled-down dimensions (we are after all building objects which are not full-sized). Neither does it presume that scaled dimensions will result in a model that is not pleasing aesthetically. I believe the point he is trying to make is when building a model, we need to look at different aspects of the ship that need to be emphasized compared to that of a 1:1 build. By the same token of appreciation, those items which are barely visible in a model, or which are extremely difficult to replicate in scale, can be omitted without having a negative visual impact. Make no mistake, his models are extremely well-researched - they have to be in order to highlight the essential aspects of a ship that lends it its unmistakable character.
As to owning one of his models, I have no desire to do that, but I do have his drawings of his version of the WB which may well make for an interesting future build.
For me, the crux of the matter is found in the above statement. If the singular goal is art then adopting the 'rules' of art is the way to go. But if the goal is a scale model of a ship, then the 'rules' of ship building should take control. Of course the lines do get blurred (AL-FI). Different hats for different cats...
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I guess it's the latter statement for me, including the AL-FI aspects of it.
Still, I do enjoy the artistic aspects of Zhdan's interpretations.
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Amen, Paul. However, with both of my two WB builds, I have pursued historical accuracy which, in the end, turned out to be nothing more than a fallacy. So what to do, if I know that a historically accurate model of the WB is not possible? Then viewing a build as an artistic exercise may well be the answer.
And, if I may be so bold as to say this: I think you are experiencing the same thing with Kingfisher. Your superb model may in the end be identified as HMS Kingfisher only by virtue of the transom decorations - the majority of the other information is that of the Pegasus. We can speculate that seeing they were both Swan - class ships, they would be the same, but can we say for sure that Kingfisher and Pegasus were identical?
I know that the WB ship and De Zwane of Zeeland were both Vliebote, one was 30 last, the other 40 last which was awfully close. But can I simply adopt what I know of De Zwane to the WB? I stand and fall by this. The man who claims to have built a historically accurate model is an awfully brave one!
Well, we do know a lot more about the Kingfisher and Pegasus than we do about a Dutch 16th century ship... Of course, I'm building the Kingasus so I can take certain libertiesAmen, Paul. However, with both of my two WB builds, I have pursued historical accuracy which, in the end, turned out to be nothing more than a fallacy. So what to do, if I know that a historically accurate model of the WB is not possible? Then viewing a build as an artistic exercise may well be the answer.
And, if I may be so bold as to say this: I think you are experiencing the same thing with Kingfisher. Your superb model may in the end be identified as HMS Kingfisher only by virtue of the transom decorations - the majority of the other information is that of the Pegasus. We can speculate that seeing they were both Swan - class ships, they would be the same, but can we say for sure that Kingfisher and Pegasus were identical?
I know that the WB ship and De Zwane of Zeeland were both Vliebote, one was 30 last, the other 40 last which was awfully close. But can I simply adopt what I know of De Zwane to the WB? I stand and fall by this. The man who claims to have built a historically accurate model is an awfully brave one!
.
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That is an absolute fact, Paul. I envy you guys with the amount of information you have at hand. As to the Kingasus - maybe I should introduce De Zwanecurius!Well, we do know a lot more about the Kingfisher and Pegasus than we do about a Dutch 16th century ship... Of course, I'm building the Kingasus so I can take certain liberties
... the Kingasus! Hmmm.., I kike that. 
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For me this is all at once revelation, confirmation and affirmation. I was an artist first and that is what informs and guides all my work. Learning this is for me lighting a lamp in the darkness or clearing away the fog. I will no longer be conflicted as to what it is precisely that I want to achieve with my work or where I stand. Above all, without apology! Heinrich, my abundant thanks to you for bringing this inspiring artist-craftsman to light and for the affirmation as well as inspiration it has provided me!
My most profound appreciation, Pete
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Dear Peter. I am so glad that you enjoyed the post and found it illuminating. As I mentioned before, this has been an issue that has been debated many times and whenever a builder has seemed to show preference for the artistic over the historical, it has been done so in an apologetic manner. Vladislav Zhdan is not only a brilliant artist, but he is also a very down to earth and humble man who has been very helpful and willing to share his interpretation of the WB.
My First Iteration of the Willem Barentsz
My second interpretation:
Vladislav Zhdan's art:
