A REPORT ON

HAND BLOCK MAKING

UNDER HRD DATED- 25-03-2011 TO 25-06-2011 VENUE- KAWOOSA KHALISA ( J&K) INDIA.

SPONSERED BY O/o DEVELOPMENT COMMISSIONER OF HANDICRAFT MINISTRY OF TEXTILE, GOVT. OF INDIA WEST BLOCK NO. 7, R.K.PURAM, DELHI.

ORGANIZED & SUBMITTED BYSUKHNAG ARI STAPLE EMBROIDERY I.C LTD. , NOWPORA KAWOOSA H/O KAWOOSA BUDGAM (J&K) INDIA

Contents

preface
Introduction HRD. the schme the craft- wood block making the place- Khawoosa Khalisa (J&K), india.

design methodology and process

inspiration design development day by day progress sketches of the prototypes list of the prototypes photographs of the prototypes

designers report
new elements added performance cum achivement report conclusion resume of the designer

empanelment letter

Preface
Its well said fact that by forgetting the history you can succeed and can't let any impression to follow for your coming generation. one should know about their roots. to become successful distinct & superior you have to identify yourself with your culture. and government is making continued effort to make it alive but such initiative. by providing equitable growth opportunities for common men, which is increasingly being reflected among others in increased participation by men in local government and decision making process, promoting of income generation activities and thrift and credit for men.

the three months skill up-gradation workshop in block making craft, program was organized by SUKHNAG ARI STAPLE EMBROIDERY I. C LTD., sponsored by the o/o the development commissioner (handicraft) ministry of textiles, govt. of india , is one such step in this direction.

detail survey of the area, established the fact that the artisans working in block making craft for their personal use, for their children and some items for their relatives, and repeating the old designs they are equipped with. In present arena, everything from the basic needs to wants changing as per the time passes. No more old traditions were followed or idolized by the new generation. as new generation is techno savvy, they don't want to invest long time required to exhibit the act, are running towards the western culture, they don't have the respect or acceptability for their old tradition because they were not have knowledge about there tradition an its importance.

it needs to update the craft knowledge and continuous effort to make it opportunity oriented so that younger generation can pursue the craft. and HRD scheme is one of that courageous efforts from the government.

Introduction
One is gifted with a good pair of hand..by god almighty..with the help of that nothing is impossible in this world we are the firm believer in this notion and keep us motivated all the time and we always pass the massage to the world through our work and sincerity not only through word. we believe and tries to provide all kind of support and hand who r willing to put their foot forwards to explore the world. .so don't stop dreaming ..dream..think..we are always there to stand by you..the massage of us for our artisans.

the government is making continued effort to provide equitable growth opportunities for women which is increasingly being reflected among others in increased participation by men and women in local government and decision making process, promoting of income generation activities and thrift and credit self help groups (shg's) for women. the 3 months innovative pattern making of wooden blocks workshop in block making craft sponsored by the o/o development commissioner, handicrafts, ministry of textiles, govt. of india, is one such step in this direction.

the program was organized by SUKHNAG ARI STAPLE EMBROIDERY I.C LTD. , an ngo working for the promotion of the art & culture and their own overall upliftment. a detailed survey of the area was made to access the existing design in block making craft , the available materials, technical inputs, production process and marketability of product etc. for the development of new designs which can easily marketed

in this modern area, life style has been changed completely and accordingly. there has been a change in styling . it has become artistic & attractive. this artistic change in footwear and other items is seen anywhere. physical & mental change takes place during young age. during that period individual selects decorative items and accessories according to choice of colors, pattern and designs etc, not according to the family traditions. from this point of view and to get a good export order and marketability product, it was necessary a series of product which will suit to the contemporary styles of living which necessitates designers intervention.

Block making activity is one of the very skilled and highly investment activity ,and most of the units run by women and men both. the technology for making of prototypes has been changed .these prototypes made of thread and embellishment in various designs and sizes are in great demand in the market . these products are manufactured in various sizes and more popular . the one which is liked most by the women are color block printing. for finding a new solution to the traditional craft skills both in terms of design & product modification and aesthetics for which the program was proposed. the place selected for the workshop was ideally suitable for the purpose. along with 10 (thirty) craft men of self help group's (shg's) having trained or traditionally semi-skilled in block making participated in the workshop and prepared 20 prototypes in two sets. the organizers and local officers and the media persons played their significant positive role and encouraged the participants and the designer during the workshop. the workshop in overall was adjudged to be very successful and the outcome was appreciated by the persons concerned.

about the hrd

the human resource development scheme has been formulated to provide qualified and trained workforce capable of establishing a strong production base coupled with improvement, quality and use of appropriate techniques, processes and innovative designs to meet present day market requirements.

Components of the scheme:

(1) Training through established institutions

(a) Objectives: to upgrade the existing skill as well as to add the additional skill to handicrafts artisans through existing vocational institutions/industrial training institutes/polytechnics etc. who are imparting skill based training such as carpentary, welding, tailoring, carpet weaving etc. handicrafts artisans shall get the benefit of exposure/interaction with the other courses allied to the crafts i.e. wood carvers shall get the benefit of carpentry, embroidery artisans shall get benefit of trailoring etc. training of handicrafts artisans through such institutions will bring in systematic approach for continuous and sustainable development of artisans community, fruitful employment, as well as strong production base for meeting the short production cycle of international market.

(b) eligibility of institutions

the technical training institutes such as industrial training institutes, polytechnics and vocational institutes recognized by central govt/concerned state government/universities run by govt. as well as reputed ngos and rehabilitation institutions etc. institutes should have at least 3 years experience in imparting training in carpentry, carpet weaving, block printing, embroidery tailoring etc. should have sufficient premises for imparting the training in craft activity/ establishment of workshop/laboratories. should have necessary power connection for operating machinery and tools. should have necessary administrative/technical staff for maintenance of requisite records and imparting training.

 should device sysmatic syllabus containing theory wherever applicable as well as practicals.

(c)

Nature of training

* Long term course varying from 4-9 months (depending on the craft up to 4 batches per year.) * Short term course varying from 1-3 months (depending on craft up to 12 batches per year.) * number of trainees - 10 per batch (maximum) (both long term and short term)

(D) financial parameters Note :

s.no (i)
(ii) 1. 2. 3. 4.

sub-head/components
non recurring grant (one time for installation of machinery & equipment recurring grant wages for 2 mastercraftspersons and 1 asstt, mastercraftperson (per year) 10000 x 2 + 7500 = 27500 x 12 months stipend to 10 trainees per batch (rs. 2000 per month/per trainees (long term course varying from 4-9 months depending on the craft up to 4 batches) stipend to 10 trainees per batch (rs. 2000 per month/per trainees (short term course varying from 1-3 months depending on crafts up to 12 batches. compensation for wastage of raw material rs.1000/per trainee or 30% of the cost of raw material consumed subject to maximum rs.1.60 lakhs whichever is least. purchase of tools misc expenditure (stationery, telephone, repairs of machinery etc.) administrative charges @ 25% of the cost of recurring expenditure subject to a maximum of rs. 2.50 lakhs. total recurring

maximum assistance rs.lakhs 24.00 3.30 3.60 2.40 1.60

in

5. 6. 7.

0.35 0.15 2.50 13.90

i) The recurring grant of rs. 13.90 lakhs per year will be provided for a period of 5 years. ii) Total cost for 5 year per institute = 24.00 +(13.90 x 5) = rs.93.50 lakhs

(e) Funding pattern

(i) Non-recurring grant:50% of the sanctioned amount will be released as first installment and balance amount will be released as second and final installment in the shape of reimbursement after receipt of requisite audited statement of expenditure, utilisation certificate in gfr-19 a format, final report on the training programme and other required documents etc.

(ii) Recurring grant:1 s t year 100% at the time of sanction. 2 n d , 3 r d , 4 t h & 5 t h year the balance due to the organization as reimbursement after receipt of requisite audited statement of expenditure, utilisation certificate in gfr-19 a formate, final report on the training programme and other required documents etc.

(f) Submission of application Filled in application as per performa to be submitted at the concerned handicrafts marketing and service extension centre (hm&sec)/regional offices/h.qr., new delhi.

note : an mou has to be signed by the institution/implementing agency to run the training programme for a minimum period of five years successfully.

(2) Training in innovative designs for the persons involved in pattern making/talim writing/plaster/rubber moulds/block making etc. a) objective

Artisans involved in hand block printing, terracotta etc. depend on the block maker, pop mould maker etc, which are totally different skill oriented activities. thus development of skill in such backward integrated activity is essential for sustainance and developnment of handicrafts. this scheme aims to train the artisans involved in pattern making, stencil making etc. for uniform specification and increase in production.

b) Eligibility 1. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. State initiated design centre (sidc) Indian institute of carpet technology (iict) Entrepreneurship development institute (edi) National institure of design (nid) Indian institute of craft development (iicd) National centre for design & product development National institute of fashion technology (nift) Institute of arts and crafts State handicrafts dev. corpn. Craft councils reputed ngos etc. (ncdpd)

(c)

financial parameter : 10 trainees (maximum) : upto 3 months

batch size duration

s.no 1 2 3 4 5 6 7 8

sub header and components

consultancy for the designer to create new designs wages compenstion for 10 trainees @ rs. 2000/- per month for 3 month 3 master trainer @ rs. 15,000/- per month upto 3 months institutional charges per batch equipment/design raw materials documentation charges misc (stationery etc.) total

maximum assistance in rs.lakhs 0.50 0.60 0.45 0.25 0.20 0.30 0.10 0.10 2.50

(d) Funding pattern

50% of the sanctioned amount will be released as first installment and balance amount will be released as second and final installment in the shape of reimbursement after receipt of requisite audited statement of expenditure,

utilisation certificate in gfr-19 a format, final programme and other required documents etc.

report

on

the

training

(f) Submission of application :

filled in application as per performa to be submitted at the concerned handicrafts marketing and service extension centre (hm&sec)/regional office/h.qr. new delhi.

(3) scheme : building

training

of

artisans/shg

leaders/ngo

in

capacity

a) objectives:

the scheme aims to train the artisans & ngos, potential entrepreneur and shg leaders in non-technical skills such as micro finance/entrepreneurship development/preparation of business plans/preparation of project reports/ packaging/ export procedures/documentation etc.

b) Eligible organizations 1. nisset 2. edi 3. institute of packaging 4. institutions of management/export 5. registered organization bodies, etc.

c) Financial parameters Maximum amount of rs. 2.00 lakhs will be given as financial assistance for per batch of 20 participants ( i.e. maximum). the said assistance includes the following components :

s.no. 1

components rent of venue including electricity, water charges, furniture

2 3 4 5 6 7

boarding & lodging charges for 20 participants & experts ta/da to participant & experts honorarium for resource persons/experts documentation/study material, etc. refreshment misc. expenses, (local conveyance, inaugural expenses, photography invitation cards, video cd of the programme etc.)

Ideally the duration of the training shall be from 2 to 5 days, depending on the nature of the training programme and financial assistance will be restricted accordingly.

d) Funding pattern 50% of the sanctioned amount will be released as first installment and balance amount will be released as second and final installment in the shape of reimbursement after receipt of requisite audited statement of expenditure, utilization certificate in gfr 19-a format, final report on the training programme and other required documents etc.

e) Submission of application filled in application as per performa to be submitted at the concerned handicrafts marketing and service extension centre(hm&sec)/regional office/ hqrs., new delhi.

4) Scheme: conducting seminars/workshops a) Objectives for continuous dissemination and creation of awareness about schemes/ programmes technological developments, market intelligence etc. amongst artisans and stakeholder of handicrafts sector, sharing of experience with the experts for adoption of best practices and improving the scheme bases on suggestions/discussion and experience faced by handicrafts artisans and persons involved in this sector. b) Eligible organizations 1. 2. central /state govt. handicrafts corporations organizations involved in the development of technology and design.

3. reputed ngos engaged in development of handicrafts, etc.

c) Financial parameters The financial assistance will be given for the following components towards conducting seminar/workshop. minimum number of participants/beneficiaries shall not be less than 100, shall be chosen from various clusters of the state or neighboring states. number of participants from any single organization shall be restricted to 5 or less.

Duration of the seminar/workshop shall be 2 to 5 days depending on the nature of the programme and financial assistance will be restricted accordingly

s.no. 1 2 3 4 5 6 7

components rent of venue including electricity, water charges, furniture boarding & lodging charges participants & experts ta/da to participant & experts honorarium for resource persons/experts documentation/study material, etc. refreshment misc. expenses, (local conveyance, inaugural expenses, photography invitation cards, video cd of the programme etc.)

d) Funding pattern 50% of the sanctioned amount will be released as first installment and balance amount will be released as second and final installment in the shape of reimbursement after receipt of requisite audited statement of expenditure, final report on the workshop/seminar and other required documents etc. e) Submission of application filled in application as per performa to be submitted at the concerned handicrafts marketing and service extension centre(hm&sec)/regional office/head quarter, new delhi.

INSPECTOR (DCH) WITH DESIGNER MR. PANKAJ AND THE NGO OWNER MR.NISAR &ARTISANS.

About the craft: block making History: Woodblock printing is a technique for printing text, images or
patterns used widely throughout East Asia and originating in China in antiquity as a method of printing on textiles and later paper. As a method of printing on cloth, the earliest surviving examples from China date to before 220, and from Egypt to the 4th century.[1]

Ukiyo-e is the best known type of Japanese woodblock art print. Most European uses of the technique on paper are covered by the art term woodcut, except for the block-books produced mainly in the 15th century.
the wood block is carefully prepared as a relief matrix, which means the areas to show 'white' are cut away with a knife, chisel, or sandpaper leaving the characters or image to show in 'black' at the original surface level. the block was cut along the grain of the wood. it is only necessary to

ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. the content would of course print "in reverse" or mirror-image, a further complication when text was involved. the art of carving the woodcut is technically known as xylography, though the term is rarely used in english.

for colour printing, multiple blocks are used, each for one colour, although overprinting two colours may produce further colours on the print. multiple colours can be printed by keying the paper to a frame around the woodblocks. there are three methods of printing to consider:

Stamping
used for many fabrics, and most early european woodcuts (1400 40) these were printed by putting the paper or fabric on a table or other flat surface with the block on top, and pressing or hammering the back of the block.

Rubbing
apparently the most common for far eastern printing on paper at all times. used for european woodcuts and block-books later in the 15th century, and very widely for cloth. the block goes face up on a

table, with the paper or fabric on top. the back is rubbed with a "hard pad, a flat piece of wood, a burnisher, or a leather frotton"

Printing in a press

presses only seem to have been used in asia in relatively recent times. simple weighted presses may have been used in europe, but firm evidence is lacking. later, printing-presses were used (from about 1480). a deceased abbess of mechelen in flanders in 1465 had "unum instrumentum ad imprintendum scripturas et ymagines ... cum 14 aliis lapideis printis" ("an instrument for printing texts and pictures ... with 14 stones for printing") which is probably too early to be a gutenberg-type printing press in that location.in addition, jia xie is a method for dyeing textiles (usually silk) using wood blocks invented in the 5th-6th centuries in china. an upper and a lower block is made, with carved out compartments opening to the back, fitted with plugs. the cloth, usually folded a number of times, is inserted and clamped between the two blocks. by unplugging the different compartments and filling them with dyes of different colours, a multi-coloured pattern can be printed over quite a large area of folded cloth. the method is not strictly printing however, as the pattern is not caused by pressure against the bloc

The place: KHAWOOSA KHALISA , BUDGAM ( J&K )

Kawoosa khalisa, is one of the small place in town srinagar of j&k)( and predominantly known as a residential area dotted with small market places and general stores. This region homes a population from different religious sects, creed and caste all residing harmoniously. Kawoosa khalia mainly falls in the rural zone of j&k and people might not be that friendly or inviting as they are mostly rough in behaviour and rude by inherent characteristics. Though some people may not find it offending but for a few who are not used to the local language and their style of speaking might find it a little unfriendly due to the well known permanent disturbance in the area.

The craftsmen use only teak wood (locally known as Sagwan) sourced from Valsad (near Gujarat-Maharashtra border). Teak is the perfect base for carving as it is strong and doesnt absorb water or distort in shape or size. The craftsmen cut pieces according to the required block size, careful to cut away from any knots in the wood. The wood is painted white and then the design traced on to it, to increase contrast and visibility. The craftsmen use a hand drill arrangement that involves a bow (Kamthi) and a driller (Saarardi) to drill out larger portions from the block; and for the finer shapes, they use a variety of chisels in different shapes and sizes. They make their tools themselves according to their requirement.

These expert craftsmen can carve blocks with lines almost a millimeter thin and so close together, that it is a wonder how even one chisel stroke, that could leave the design spoiled and useless, does not go wrong. They make blocks for printing designs in one to four colours, sometimes more, but the craftsmanship is so precise that the fields and outlines of the motifs match flawlessly.

Wooden blocks range from as small as 1 to 16 in size and while a basic block, 3 to 4 inches across takes a day or two to make, an intricate one can take almost a weeks work.

Printers of different areas use different motifs or techniques and these block makers are experts in making all kinds of blocks. While Ajrakh prints have geometrical and star patterned motifs, the Sanganeri prints of Rajasthan have simple abstract or floral ones. The Bagh prints of Madhya Pradesh also have abstract florals, although more intricate than the ones in Rajasthan.

Even more intricate were the Saudagari prints, from which the block making art is believed to have started in Pethapur. It is difficult for a person to even hand draw those, let alone carve, but these experienced craftsmen are able to make perfect blocks for the prints, although the Saudagari prints are not done anymore.

A craft as old as printed textile, which can be traced back to the Indus Valley Civilization, has few patrons left now. Although hand block printing still flourishes, ironically, block carvers have decreased in number and continue to do so, with younger generations moving on to more profitable careers. From almost 500 craftsmen who used to work in Pethapur some decades back, today only a handful are left, trying to preserve this craft, as well as their livelihoods .

Fifth phase: after drawing the motifs, craftsmen started to do the chilai, and while doing it, they have to go till a certain depth so that when printing happens, motifs are printed clearly.

While getting the motifs developed on wood block, with the craftsman.

(One of the final product- paisley)

designers report:
a detailed survey of the area was made to access the existing in block making, the available material, technical inputs, production process and marketability of the products etc. for the development of new designs which can be easily marketed. the baseline survey got done before starting the workshop keeping certain things in mind such as the present condition of the craft and its practitioners, to know the basic requirement the problem and the solution and last but not the least for the scope and possibilities of the craft and its practitioners. how one can get them in the fine line of current world of competition, what are their needs and wants, required facilities and about their habits. i had started the work by keeping basic aspects of the development like locating the active area i.e. geographically where the craft stands, what level of skills the craft person has, basic difficulties that lies around the area so that it could be easy to reach and rectify the problem. the result reveals heartening facts, no doubt they are skilled to get all the recognition, others enjoying. the craftsperson were talented and practicing it. as the products made out of this craft are used in every day workout. the craft person practicing the art for the household needs and for some small business point. there products of concern and there designs were of limited stock. as they dont have exposure to the outer world of competition. the artisans are highly skilled but can be easily moulded into any shape of desire. the ultimate story is that, by proper guidance regarding the designs, ability to judge the trend and requirement of the market, technical inputs, providing proper marketing network, refinement of taste and choices to be built up among the artisans to enable them to put an overall performance on the craft to ensure end user satisfaction.the result of the survey reveals the facts, can be summarised as: the craft persons at Kawoosa Khalisa ( J&K ), practicing the craft werent too lucky compared to others, as the area of concerned was not geographically gifted place but accessibility to connect internationally and domestic market itself is little difficult. The craft persons were talented and practicing it as earning from this plays a major role for their bread and butter. the crafts persons practicing it just for the sake of their survival and not for their growth, business. there products of concerned and the designs were limited, as they dont have exposure to the outer world of competition. they are highly skilled but raw. it can be underlined as mentioned below: practiced by females of the family they lack innovation and skills lack the knowledge of trends due to lack of market exposure limited product range and designs they dont know the techniques to cure, processing and finishing they dont have the proper marketing channel and costing method.

new elements added

keeping in mind the growing interest all over the world in block makings and especially the emergence of ethnic wear printed clothing and others, i have tried to design a few products, in block making without moving from the traditional elements and the creative trends in accessories. new inspiration based on old modes designs and motifs of today. The focus was to teach them making their own patterns and accessories, not only will allow artisans to express their personal style but also teach them the importance of colors and details and tell them if these all elements well coordinated can add grace to design and product. the focus was to teach them how to create design patterns from an inspiration. give it appropriate color combinations and use ideal colors and motifs to enhance the pattern and the basic steps of creating a design pattern for work by taking inspiration from the beautiful thins presents in the nature, books, surroundings and pictures etc. It was a highly innovative pattern making workshop of wooden blocks and provided them with new patterns at the end solved the purpose of this 3 months workshop.

performance cum achievement report

the 3 months workshop with the craftsmen of SUKHNAG ARI STAPLE EMBROIDERY I.C LTD., has been an insightful process. the work that has emerged, through the collective effort of the craftsmen , team, and the designer, reveals the great potentials that the block making craft practices of the craftsmen hold. The products created by the craftsmen, supposedly low skilled, are neat and well executed and have made us rethink about their potential. it is heartening to see that the entire process, from the conception of the designs, to tracing them, making out in model, and then finishing the product, has been highly participatory one, and everybody enjoyed every moments of it. as i am a witness of this whole journey as designer and a human being want to suggest few things to the government1) Arrange more workshops for them followed by an exhibition. 2) Allot them more funds to enhance their efforts. 3) Scheduled awareness camp in particular duration so that they can get know about the schemes and got access. 4) A department like caretaker should be established which can look after them during off-seasons. The products created are wooden blocks for block printing. These qualify the design brief, which had required the designer to focus on the products. The idea was to have prototype with the quality and difference, and that can be produced faster without any technical difficulty and have a fancy look.

Designer: pankaj arora

Conclusion
the 3 months workshop with the craftssmen of sukhnag ari staple embroidery i.c ltd. , has been an insightful process. the work that has emerged, through the collective effort of the craftmen, n.g.o. team, and the designer, reveals the great potentials that the traditional craft of block making practiced by the men. The products created by the craftsmen, supposedly low skilled but are neat and well executed and have made us rethink about their potential. it is heartening to see that the entire process, from the conception of the designs, to tracing them, cutting, and then filling and finishing the product, has been highly participatory one, and everybody enjoyed every moments of it.

LIST OF THE PROTOTYPE CRAFT- block making

DATE- 10-12-2010 to 09-03-2011

VENUE: kawoosa khalia, ( J&K)

S.R.NO. 1 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

PRODUCT NAME WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK WOOD BLOCK

PRODUCT CODE PA/SASEL/WB-1 PA/SASEL/WB-2 PA/SASEL/WB-3 PA/SASEL/WB-4 PA/SASEL/WB-5 PA/SASEL/WB-6 PA/SASEL/WB-7 PA/SASEL/WB-8 PA/SASEL/WB-9 PA/SASEL/WB-10 PA/SASEL/WB-11 PA/SASEL/WB-12 PA/SASEL/WB-13 PA/SASEL/WB-14 PA/SASEL/WB-15 PA/SASEL/WB-16

SIZE IN CMS. 13 X 6.5 15 X 5.5 13.5 X 3.5 14.5 X 5 15.5 X 5.5 9 X 4.5 5.5 X 5.5 7.5 X 4.5 9 X 6.5 8.5 X 3.5 7 DIAMETER 12.5 X 3.5 9 X 6.5 10.5 X 4.5 6 DIAMETER 3.5 DIAMETER

PRICE/ PC/RS. 1400/1300/1200/1400/1300/900/800/800/900/700/600/900/700/900/800/500/-

PCS. 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

Total cost of the 16 blocks : 15,100/- inr

photographs of the prototypes

product code : pa/sasel/wb-1

Wood block

material used: wood

product code : pa/sasel/wb - 2

Wood block

material used: wood

product code : pa/sasel/wb - 3

Wood block

material used: wood

product code : pa/sasel/wb -4

Wood block

material used: wood

product code : pa/sasel/wb -5

Wood block material used: wood

product code : pa/sasel/wb -6

Wood block material used: wood

product code : pa/sasel/wb-7

Wood block material used: wood

product code : pa/sasel/wb -8

Wood block material used: wood

product code : pa/sasel/wb -9

Wood block material used: wood

product code : pa/sasel/wb-10

Wood block material used: wood

product code : pa/sasel/wb-11

Wood block material used: wood

product code : pa/sasel/wb-12

Wood block material used: wood

product code : pa/sasel/wb-13

Wood block material used: wood

product code : pa/sasel/wb-14

Wood block material used: wood

product code : pa/sasel/wb-15

Wood block material used: wood

product code : pa/sasel/wb-16

Wood block material used