Dinasti Ming (1368-1644 M)

Dinasti Ming

      Penghujung Dinasti Yuan ditandai oleh adanya pemerintahan yang korup, pajak, dan inflasi yang tinggi. Hal ini semakin diperparah dengan adanya sikap bangsa Mongol yang suka bertindak sewenang-wenang. Kekaisaran kemudian mengganti mata uang yang telah beredar sejak zaman Kubilai Khan dengan mata uang baru. Mata uang ini baru dicetak dalam jumlah besar sehingga menyebabkan hiperinflasi. Hal ini kemudian menyebabkan perekonomian ambruk dan bencana kelaparan merebak dimana-mana. Pada tahun 1351, terjadi bencana banjir besar yang diakibatkan Sungai Kuning meluap. Kekaisaran kemudian menyuruh rakyat melakukan kerja paksa untuk memperbaiki bendungan Sungai Kuning. Kerja paksa ini kemudian menyebabkan ketidakpuasan rakyat dan akhirnya me nimbulkan pemberontakan petani yang terjadi pada bulan Mei 1351.

Pada tahun berikutnya Guo Zixing memimpin pemberontakan dan berhasil menguasai wilayah Haozhou. Ketika Guo Zixing melakukan pemberontakan Zhu Yuanzhang juga ikut berpartisipasi dan berjasa dalam beberapa pertempuran. Jasa Zhu kemudian menarik perhatian Guo yang akhirnya menikahkan putri angkatnya kepada Zhu. Tahun 1356, dengan kekuatannya sendiri, ia berhasil menaklukkan jiqing dan mengganti nama menjadi Yngtian. Yingtian inilah yang kemudian menjadi ibukota yang baru setelah Dinasti Ming berdiri.

Zhu Yuanzhang kemudian memutuskan untuk berbasis di Yingtian untuk memusatkan kekuatan demi mempersatukan daratan Cina. Pada awalnya, situasi Zhu di wilayah Yingtian sangat tidak strategi buat mengumpulkan kekuatan dalam waktu singkat. Kemudian ia menerima nasihat Zhu Sheng untuk memprkuat pertahanan dan memusatkan perhatian pada perbaikan logistik dan tidak terlalu gegabah untuk mengangkat diri sendiri menjadi raja.

Kebijakan yang dibuat oleh Zhu menyebabkan ia dapat memperkuat dirinya dalam waktu singkat. Ia kemudian menyerang kekuatan pemberontak lainnya, Chen Youliang pada tahun 1360. Ia kemudian berhasil memukul mundur pasukan Chen ke Jiangzhou, wilayah pesisir sebelah timur Yingtian. Dalam waktu tiga tahun, Zhu berhasil menghancurkan kekuatan Chen.

Tahun 1367, Zhu berhasil menaklukkan Zhang Shicheng, pemberontak lainnya dan menguasai Pingjiang (sekarang Suzhou, Jiangsu). Dalam tahun yang sama, Zhu juga menghancurkan kekuatan Fang Guozhen yang pada saat itu menguasai wilayah pesisir Zhejiang. Setelah keberhasilan ini, Zhu Yuanzhang mengangkat diri sebagai kaisar pada tahun 1368, memulai sejarah Dinasti Ming selama 300 tahun ke depan. Ia menetapkan Hongwu sebagai tahun pemerintahan sehingga ia dikenal juga sebagai Kaisar Hongwu.

Pada tahun itu juga, Kaisar Hongwu melakukan ekspedisi ke utara untuk mempersatukan Cina. Kekaisaran Yuan yang saat itu telah melemah tidak dapat menghambat tentara Ming yang saat itu bermoral tinggi karena kemenangan demi kemenangan. Ibukota Yuan, Dadu berhasil dikuasai dan dibumi-hanguskan atas perintah Kaisar Hongwu. Suku Mongol kemudian berhasil diusir kembali ke padang rumput Mongol.

Setelah berhasil menghancurkan Dinasti Yuan, Kaisar Hongwu menaklukan pemberontak Ming Yuzhen di Sichuan pada tahun 1371. Sepuluh tahun kemudian, hancurnya kekuatan Raja Liang dari Dinasti Yuan di Yunnan mengukuhkan penyatuan Cina daratan di bawah Dinasti Ming.

Daftar Rujukan :

Supardi, Nunus, dkk,. 2000. Kelenteng Kuno di DKI Jakarta dan Jawa Barat. Jakarta: Departemen Pendidikan Nasional

Wiriaatmadja, Rochiati dkk. 2003. Sejarah dan Peradaban Cina Analisis Filosofis-Historis dan Sosio-Antropologis. Bnadung: Humaniora

Lam, N. Mark, Graham, John L. 2007. China Now Berbisnis di Pasar Paling Dinamis di Dunia. Jakarta: Gramedia

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History of the Kraton Yogyakarta

Jogja city government began to discharge Chronicle palihan villages is about power sharing mataram area into two regions, namely the region of Yogyakarta and Surakarta sultanate. The emergence chronicle because the government led by the king of Mataram Mataram and the new Third Sunan Pakubowono continued political policy in favor of the Dutch East Indies government. Tensions continued with the prolonged war between the Kingdom fully backed by the VOC against Mangkubumi princes allied with Raden Mas Sahid.Apparently before it happens, has a lot of conflict between the royal family itself mataram. Starting from the reigning king has prepared a replacement candidate, but after the king died, the change does not occur smoothly. Many factors that cause change does not occur smoothly, namely, the concept of Javanese culture or revelation by revelation Cakraningrat palace is still deeply rooted in the minds of the candidates to replace the deceased king. In traditional Javanese society is determined by the legitimate ruler who has received revelation yag.Conflicts that occur between the royal family Mataram create loopholes for VOCs to make sneaky tactics to try to overthrow the legitimate ruler of the Sunan Mas or Amangkurat III. Sunan Mas which was finally defeated and exiled to Sri Lanka must let tahhtanya the younger brother of Prince Puger Amangkurat II father of Sunan Mas. After Prince Puger successfully staged a coup he was crowned as the Sunan Pakubuwono I. Assistance resulted in the reduction of VOC Islamic Mataram territory should be given to the local VOC Cirebon, Priangan, and the area east of Madura (Dwiyanto, 2009; 7)Since VOC comes in Java, has dozens of times they made a contract agreement with the kingdom of Mataram. The agreement initially concerned only in the field of trade, which does not touch politics. But since the reign of Sunan Pakubuwono II VOC piecemeal meddle Kraton Mataram. With the soul "can be bought" to borrow a phrase from Kustiniyati, VOC managed to put the effects in the political kingdom of Mataram.Revolt by Prince Raden Mas Said Mangkubumi and forced Pakubuwono II to the VOC for help again, because at that time no Pakubuwono II defeated the rebellion had succeeded in occupying the palace that is in Kartasura. For consideration in 1744 was moved from Kartasura to Kraton Surakarta area. But the relief of VOCs must be redeemed by the permissibility of intervention VOC Mataram future impact on the delivery of the VOC Mataram region (Purwadi, 2006; 10).Pakubowono Sunan that the illness is managed by the VOC forced to sign an agreement which is in essence a "handover State Mataram 'cause disappointment parties. One the one hand that it is disappointed the Prince Mangkubumi. With the disappointment of Prince Mangkubumi the greater rebellion waged. The rebellion consumes power and great power. Creating political stability and governance chaotic and troubled kingdom disrupt the economy, which resulted in a double debt interest in VOC.Open and guerrilla war between the two sides lasted for 6 years (1749-1755), the war resulted in many casualties on both sides. On February 13 1755 the agreement reached between the Sunan Pakubowono III with Prince Mangkubumi. The agreement was named the Chronicle palihan villages. Half ruled by Susuhan Pakubowono III with capital Surakarta, the other controlled by Susuhan Kebanaran which has since changed its title into the lane I, with its capital Ngayogyakarta (Dwiyanto, 2009; 10-14).The division of the country as administraif also affect the growing culture. Surakarta Culture Yoggyakarta culture as if competing hard, which often creates disputes. Although after the agreement Giyanti Prince Mangkubuni and Sunan Pakubuwono III has a clear territory of VOC not influence wane but has intensified as political provoke them have managed to reduce the power of Mataram.Prince Mangkubumi officially became king of Yogyakarta with a degree Ngarsa Sampeyan Dalem Dalem Ingkang Sinuwun Kanjeng lane Senopati Ing Ngalaga Khalifatullah Ngabdurrahman Sayiddin Panatagama Ingkang Jumeneng Ing Negari Ingkang Jumeneng sepisan Yogyakarta Sultanate. People generally are more familiar with the title lane I (Dwiyanto, 2009; 14).2.2 Kraton Yogyakarta Archaeological HeritageDuring each of the royal power would leave the archeological belonging ekofak, biofak, teknofak and others. Sultan Palace is a large kingdom with different attributes. From fashion to warfare equipment must have its own style shape. As a result the sublime culture certainly has a hidden wisdom and values.Culture is patterned art emerged from the palace consists of various types of architecture, dance, and literature. Arts-style building on the palace architecture and layout and literary arts is composed of fibers, Chronicle, keris, wayang, gamelan, spears, mosques and gending mysticism. The work produced by the reigning monarch and courtiers who are competent in the field of art, but also often as well as an expert on Javanese mysticism. The work produced in the form of the deity mysticism (Purwadi, 2003; 67).Culture comes first in the imperial dynasty was the founding Ngayogyakarta yogyakarta palace building. The building was established on October 7, 1756. Lane I was an expert in building and layout, which must have into account the strategic aspects of political, economic and defense, as in the palace as the administrative center. So that requires a strategic location for survival.Or the capital city palace is not only a center of politics and culture, as well as the central malainkan magical kingdom. Since the universe, which, according to Buddhist cosmology or brahman or both, based in Mount Meru, the empire, in the form of a small universe, must also have Mount Meru at the center of the city and the mountain Meru as the center of magical. People Javanese royal capital as the country's call. Return of capital means the return of the country (purwadi, 2005; 45).Examples of strategic layout is on banguanan Taman Sari or waterkasteel. The building is located on the western side of the palace. At first glance of the shape appears to be merely as a place of rest and entertainment. But after further observed "castles in the air" the only one on the island of Java, will find it too small roads that penetrate underground to weave several directions so that there is a broad penetrate into the city. The building is jugadilengkapi with water and if the water line was closed the entire park will be turned into cider big lake.There are some opinions that explain that the building is influenced by the Portuguese. But the Portuguese style not found in it. But there was a dutch who denies that is about building a garden sari inside the palace truly original character of Java.Yogya palace building itself flanked by two square is the square lor and South. In times past, both the square has significance as a place penggemblengan soldiers and government palace. In place of the officer in training fighting, horseback riding, fighting and using weapons. So that the role can only be known in the art of building is known by experts only (Dwiyanto, 2009; 17-19)In addition to the other buildings in the Kraton banguanan left is masjid.masjid according to meaning is the place praying according to Islamic rules (seokmono, 2008; 75).Lane I in addition to smart and reliable in the layout of the building is also artistic. Evidenced by the resulting culture, he changed the number of tools available to the court gamelan yogyakarta. In 1757 the lane I add to the Gamelan Bonang penembung. Furthermore Adi Pati Anom throne which replaces His father then got his lane II. He is pleased to make the gamelan pelog characterized by:• Kenong (attachment 1)• Sekar Dlema• Cluring kenong barrel nem (Appendix 2)• kreseg (made of leather scallions included in kreneng) (Dwiyanto, 2009; 20-21)In 1844 the lane V, adding Ricikan and demung saron to 8 to 4. Sultan also added some other instruments such as drums, violin, flute, and sexofon. The tools come from abroad coming together with the foreign invaders. Prince Mangkubumi sister lane VII, complete with bird gender gender successor.Kraton has plenty of gamelan devices, but only Yiga a heritage that is to be considered as gamelan, Monggang Gamelan, Gamelan Ngorek frogs, and Gamelan Sekati. Gamelan is specialized in performances at royal ceremonies. Gamelan is the work asliSri Monggang lane I first played the possible arrival of Sri Susuhan Pakubuwono III, gamelan Frog Ngorek which literally means frogs are singing, is gamelan from Surakarta Kasunanan submitted to the sultanate of Yogyakarta, as mentioned in the Chronicle Giyanti .Keris is ideofak that can be used for various functions according to wikipedia keris is a dagger stabbing weapon class (pointy and sharp on both sides) with many cultural functions are known in the western and central archipelago. On the use of the present, is more of a dagger accessory items (ageman) in dressing, has a number of cultural symbols, or a collection of objects. In the past dagger still functions as a weapon in a duel or war. Now the function is increasing as a weapon that has aesthetic value and a suggestion to the things that are irrational from kris (see annex III).In Kraton many famous masters kris experts who have created many piandel or keris as a weapon of the ruling monarch. Includes dagger Kyai Joko Pitirun succession which is a symbol of royal power that berkusasa absolute surrender to his successor before surud ing kasedan teak. Keris Kyai Piturun Joko is one of four keris owned by a very famous Sultan Palace. The kris is Kanjeng Kyai kopeks, Kanjeng Kyai Bethok, Kanjeng Sengkelat Kyai and Kyai Kanjeng Joko Piturun according to the book Dwiyanto Darsono (2009; 453)Besides Keris, weapons from Kraton Yogyakarta is spear. Spear is a weapon for hunting and fighting, part consists of a stick as a handle or spear heads and eyes are sharp and sometimes hardened with other materials. Kraton famous spear is a spear Kanjeng Kyai Plered (see Annex IV), New Kyai Kanjeng, Kanjeng Kyai Megatruh, Kanjeng Gadatapan Kyai and Kyai Kanjeng Gadawedana but the famous Palin is Kanjeng Kyai Plered Dwiyanto (2009; 453)Literature is the written works of the poets and even the king's court ruling. Literary works palace is Fiber, Suluk, wirid, Song, and the Chronicle. Fiber is the law contains writings, advice-advice and governance rules in religious ceremonies. Suluk literature contains only religion. Dhikr or wird is a constant prayer recited on a certain count. Song is a song that contains stories, advice religions contain elements misti. Chronicle is a story of the history of a great event.Other cultures developed by Kraton Yogyakarta is the art of dance. Dance has been created since the leadership of Sri Sultan Buwana I. The nature of the dance is Mangkubumi as a formidable warrior. Situai during the making of the dance lata also relates to the situation of an independent kingdom, which is also a lot of foreign threats. The dance works is, Beksa Lawung, Sekar Beksa Medura, Beksa Puppet, Beksa shield, and Wayang Wong.Find a Menak Princess Rengganis Widaninggar nerupakan an excerpt from the wayang wong dance technique is the personification of the puppet show, which was created by walnya Sri Sultan HB IX. Source of the story rests on the fibers brought stunning, the story of Amnir Ambyah, more popular by the name of Amir Hamzah, a story about the spread of Islam yanmg reflected in the dance movements. Rengganis Goddess of the country faced an opponent with Dewi Koparman Widaninggar of Tartaripura, demanding Bals death of his brother by the name of Goddess Adaninggar. In this battle proudly each rose bird Garuda, however, the advantage is on the goddess Rengganis.Find a Dance is a form of dance genre which was originally developed outside of keratin. Since the reign of Sri Sultan HB VIII, mobility culture encourages this puppet dance entered the palace, so that the form of expression also contains color truktur keistanaan Buday. If the doll originally expressed in a variety of improvisation 'naughty, teasing that fill iringannya working on, has now been arranged in the form of an even' erotic ', but the culture of soft palace remained influential in the formation of expression in her choreography. Name puppet dance is usually tailored to the piece iringannya, among other lanbangsari puppet, puppet Gambirsawit, Golek asmaradana, Golek Tenyep, Golek Montro, Golek Surengrana, and so on.Klana Mask Gallant, which is based on the story reveal about prabu Klana banner Suryawasesa who are in love with the goddess Sekartaji.Begitu so much love always fantasize and imagine as if Goddess Sekartaji be dihadapnnya. Love can sometimes bring oblivious to what faced the realitySekar Pudyastuti is a welcome dance as regards respect, welcome greetings, and a variety of greetings to the guests who come. Anoman ambassador, a small fragment of an excerpt from the story of the epic Ramayana, about Anoman Ramawijaya sent by the King to meet Goddess Sita who was abducted by King Ravana of Lanka kingdom. Untukmenguji loyalty to King Rama Sinta Dewi, diberikanlah ring of King Rama through Anoman for Dewi Sinta is always accompanied
 Beksan Anoman Yaksadewa is an excerpt from the wayang wong derived from the epic story of Ramayana. When Anoman sent see Dewi Sinta, Anoman managed to damage the park Soka and ravaged the kingdom of Lanka, so Anoman have to deal with the son of the king of Lanka named Yaksadewa. Thanks to the magic Anoman Yaksadewa beat to deathBeksan Pethilan Gathutkaca Suteja an excerpt from the story of wayang wong genre epic Mahabharata in the play Suteja Ask Father. Both figures are equally mighty not know each other, to finally get a good clue, no longer fighting position to get Wakyu 'Senopati' but can forgive each other and they can understand that it is still berasudara because both are included in the large family relatives Pandavas, Gatutkaca is the son of Bhima and Krishna is the son Suteja already kepanjingan soul Vishnu. Blessed are they, so Suteja could find who the real father.Missing Sprott is a fragment taken from the Ramayana epic story. When Dewi Sinta kidnapped and carried off by Ravana, in the middle of a trip to meet with Jathayu, but despite losing the fight Ravana, had reported the presence of the King Rama Sinta Dewi as a sign of loyalty to Rama JathayuBeksan Gathutkaca Pregiwa is an amorous encounter between Raden Gathutkaca and Goddess Pregiwa very romantic, an excerpt scene of wayang wong Genre court Ngayogyakarta derived from the story of the epic Mahabharata.Klana King / Klana dashing romantic scenes is passage of the wayang wong, one of a genre of dance at the Palace Ngayogyakarta, describes a king who falls in love with a princess dreams expressed in the character and the type of stout. In her dance expressions portray a young king who is raging spirit and fire of his love, so Mersa should always be perfect, both outwardly and inwardly.Klana Alus whch is a romantic scene of wayang wong, one of a genre of dance at the Palace Ngayogyakarta, depicting a king that is expressed in the character and type of smooth dance. A king is a wise and prudent, in the Agungbinataraannya falls in love with a heart princess dream, of course, will influence the pursuit of his love to all corners of the world associated with oversized power. Some figures are usually expressed king Dasalengkara King, King Jungkungmardeya, King Sri SuwelaBeksan Lawung Ageng or Lawung Gallant is one bentu genre called wiring or beksan herd very heroic, in the spirit of its creator as the founder of the Prince Sultan Mangkubumi Ngayogyakarta struggling with a persistent and militant. Besides this ageng Lawung almost always present in a grand wedding ceremony Kraton Ngayogyakarta as a fertility rite which symbolically into the teachings that accompany the journey of life in the beginning of a new life ark cover (Dwiyanto; 2009) (Rama; 2007).Aspects of culture that emerged and growing rapidly is the culture associated with the religious system. The system was also adopted from the Hindu-Buddhist religious system that had evolved. Kraton Yogyakarta Culture is evolving since its establishment in the kingdom of Mataram, but also after the Chronicle Giyanti undergone many changes and developments. Due to several factors that exist in the Sultanate government and Kasunanan.Aspects are often referred to as Java or Javanese religious system. The system adopts the system of Hindu-Buddhist and Islamic aspects of the procedure and a bit on the spiritual aspect. The Javanese believe that God is the center of the universe and the center of all life because before everything happens in this world is God's first time there. God not only created the universe and its contents but also acts as a regulator, because everything is moving according to plan and with the permission and His will.Central question in this sense is a source that can provide livelihood, balance and stability, which can also give life and connecting with people the world over. The views of the Javanese is commonly referred Manunggaling Lan Gusti subjects, namely the view that assumes that human moral obligation is to achieve harmony with the strength and the unity of last last, the man handed himself as the servant of the Gustinya.The mountain peaks in Javanese culture is considered a high place and closest to the world above, as at first believed that the spirits of ancestors living in the mountains. Most of the people of Java included in the class who has tried mixing some concepts and ways of thinking of Islam, with the original view of the natural world (this world) and the nature of supernatural (occult or supernatural).Outlook on life is an abstraction from life experience. Outlook on life is a mental adjustment from life experiences can then develop an attitude towards life. Javanese worldview characteristic of reality that leads to the formation of the unity between the numinous real nature, society and nature are considered sacred supernatural. Nature is an expression of power that determines life. The Javanese believe that their lives have no line, they just run its course (Soenarko, 2007; 132).Basic Java or Javanism confidence is the belief that everything that exists in this world is essentially one, or a unity of life. Javanism view of human life is always closely adrift in the cosmos of the universe. Thus human life is a journey filled with religious experiences.Java formulate the minds of human life in two cosmos (nature) is the macrocosm and the microcosm. Understand also what we might call the philosophy of Java, which is mixed with religion in the religion of Islam. Religion Islam itself does not know the system Macrocosm and Microcosm. Macrocosm in Javanese thought the attitude and outlook on life in the universe, which contains supernatural powers (supernatural). The main goal in life is to find and create harmony or balance between the macrocosm and the microcosm of life (Purwadi, 2003; 89).In the center of the macrocosm of the universe is God. The universe has a hierarchy devoted to the natural level and the level of life more perfect world (the world over - the human world - the world below). The universe consists of four main directions plus a center that unites God and give balance.Attitudes and views of the real world (the microcosm) is reflected in the lives of humans and their environment, the structure of human society, governance of everyday human life and everything that appears to the eye. In the face of human life that is good and right in this world depends on the strength of mind and soul.For the Javanese past, the center of this world was the leader or the king and kingdom, God is the center of the macrocosm, while the king is considered the embodiment representative of God on earth, so that in him there is a balance of these two forces of nature. So the king is seen as a community center in the world as the king's representative microcosm of the Lord as the residence of the king's palace. Kraton is a royal and sacred center bersemayamnya king because rajapun considered a source of cosmic forces flowing into the sovereignty and bring peace, justice and the fertility of the region.It is the above overview of the nature of mind and attitude and outlook on life that is owned by the Javanese in the kingdom era. The mind has been deeply rooted philosophy and the foundation of all that is in the order of realization of Javanese life.Jogjakarta court figures who spread many Javanese ideology embraced by the public is Notoroto RP. He was the court poet Sultanate of Yogyakarta, Sri Sultan lived during Hamengku Buwana V. The work he is:a. fiber bayanullahb. musyawaratan the trusteesc. kridha deer Martanad. fiber purwakanthiAll of them are religious magic that we often call the servant Manunggaling understand Gusti (purwadi, 2003; 156).

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Periodization According to Empire Emporium

In this book Sartono Kartodirdjo reconstruct the history of Indonesia as a national history. History is written in this book is a history of total or comprehensive development of society that sees Indonesia as a whole. In this book the key word is someone "interaction" is of course the process of interaction that follow the patterns of communication within a certain period leading to the integration between regions or between social elements. Interactions between units occurs through communication from marital relations, war, robbery, slavery, to shipping, trade, diplomacy, and fellowship.Of the communications network grows in the process of integration between regions and social elements. As in the early 1500s the archipelago are undergoing proliferation of power, which many emerging port cities as a buildup of merchandise, including the ongoing trade intenasi onal (Emporium). The communication between both nations with western and northern pose a great flow that brings cultural ideology, belief systems, political systems, and a variety of other cultural elements such as literature, art, philosophy and so on.During the great kingdoms like Aceh, Mataram, Banten and Makassar, communication networks it creates ecological-political-historical individual. Which in a unit element of the interaction of social economic, social, political and cultural boundaries that transcend the local unit but otherwise the scale "National". Besides, it is also through the process of interaction between the archipelago nation in the early 16th century, many large incoming streams which then influences people's lives at the time, like when Islam arrived in Aceh and South Sulawesi. Then Islam spread to many other parts of the archipelago and the supporting factors contributed to the process of interaction between the regions of the kingdoms that existed at that time.Besides this, the penetration of colonialism by VOC and the Dutch East Indies government in the nineteenth century directly or indirectly unite the archipelago that later after the official proclamation of August 17, 1945 to the Homeland.

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temple clown (Candi Badut)

 The temple is located in the Clowns Tidar, the city of Malang. Can be reached by public transport Tidar majors. The temple is expected to more than 1400 years old and is a relic believed to Gajayana King, ruler of the kingdom Kanjuruhan as embodied in the inscription of AD 760 Dinoyo years. Clown said here comes from the Sanskrit word "Bha-dyut" which means highlight Highlight Agastya or Canopus star. It was seen on the main room of the temple which contains a pair of statues is not real in the form of Shiva and Parvati phallus and yoni. On the outer walls there are niches containing statues and Nadiswara Mahakal. In the north there is a statue of Durga niches Mahesasuramardhini. Eastern niches are statues of Ganesha. And adjacent to the South there is a statue of Shiva Agastya as Grand Master. But among all the statues were only statues of Durga Mahesasuramardhini were left.
The temple was discovered in 1921 in which the shape at the time it was just a mound of rocks, rubble and soil. The first to proclaim the existence of the Temple Clown is Maureen Brecher, a controller of the Dutch who worked in Malang. Clown temple was rebuilt in 1925-1927 under the supervision of B. De Haan of the Netherlands East Indies Bureau of Antiquities. From the results of excavations made at the time it is known that the temple has collapsed completely, except for the legs which can still be seen in that order. The temple is one of the clowns in the Hindu heritage budha.candi this as evidence of the triumph of the Kingdom of masanya.selain Kanjuruhan on the other it is a relic of evidence Songgoriti temple located in the town of Batu. although the buildings are no longer intact. There are specific signs that indicate that this temple is one of the oldest temples in Java with a decorative ornament in the form of the temple when the makara Clown at the gate. His style is similar to temples in Central Java, decoration when not using the lower jaw, as commonly found in different temples in East Java. Kinnaras decoration and Kinnari the temple stairs, in the form of a human head ornament bodied birds. Flower decoration on the walls of the temple is similar to temples and temple Kalasan Sewu in Central Java. There is no relief or other decorations on the walls of the temple which tells the story of the temple Clown.

Judging from the style of the temple there is a common style of building temples in Java, especially with complex Temgah Dieng.Satu temple, the temple master bedroom and the front associated with the length of the enclosed porch. Two, spacious master bedroom-sized wall and 3.67m 3:53 (temple in East Java has a smaller size). Three, there is a symmetrical arrangement of the temple plan in accordance with the temple in Central Java. Four, the composition of the base of the temple Clown simple shape and height. In the eighth century there was a kingdom called Kanjuruhan whose center around Malang and stand alone. Wise king named Devasimha who had a son named Gajayana. Gajayana had a daughter named Uttijana. Gajayana king made a temple for the Maharsi (Agatsya) are respected and adored in the form of a statue that was placed in a temple (the temple may Clown now). One thing that diakai to connect the temple with the Clown is a Clown Kanjuruhan kingdom. According to the inscription Dinoyo, King Gajayana also named Liswa in Sanskrit means a clown (Privileges pelawak_. Dinoyo inscriptions written in Sanskrit or Old Javanese, not anymore Pallawa letters and numbers arranged in the form Condra year Sangkala which reads: Nayana Vasurasa = 628 saka = 760M . inscription was the biggest role in the history of the source of a great empire that ever existed in Kanjuruhan Nalang Clown besides temples, temples Besuki (only a base and a Agtsya statue, located near the temple Clown), and the discovery of the local statues.

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"Nandi" relics of the Hindu Budha Century 4

Indonesia is known as a multicultural country. Indonesia in the state there are various tribes, various cultures, including different religions. Religions officially recognized by Indonesia is Islam, Hinduism, Buddhism, Christianity, and Catholicism. From 5 different religions, Hinduism and Buddhism was the first to go to Indonesia or who formerly known as Nusantara. The entry of Hinduism and Buddhism brought a great influence on the development of social life in the archipelago.
According to the evidence that has been found, Hinduism first entered the archipelago is in the Kutai, on the banks of the Mahakam River, East Kalimantan around the 4th century AD. This fact is derived from the discovery of inscriptions Yupa. In the inscription Yupa did not mention the figure in the founding of the kingdom of Kutai, but the timing can be obtained by a comparison technique or techniques make use of comparisons. The letter contained the same letters the inscription Yupa in India in the 4th century AD. Since then the Hindu religion began to spread to different parts of the archipelago. In Java, the influence of Hinduism can be known with inscriptions describing the founding of the kingdom had a job that patterned Hinduism, including Tarumanegara kingdom, Mataram, Singosari, and Majapahit.
The growing influence of Buddhism Hinduism dab also indirectly affect cultural developments in various areas of the archipelago. In Hinduism known variety of the ceremonies of worship and various sacred objects. These are things that ultimately mix with the local culture that raises acculturation. One example of acculturation culture with local culture is Hindu temples. Rule-making temples in Indonesia is using the same rules as the rule-making temples in India, but the shape, relief models, and models adapted to the decoration on the temple culture of each region in Indonesia.
The influence of Hinduism and Buddhism are also very pronounced in the District Tulungagung. This is proven by the discovery of many relics of the Hindu and Buddhist in this area. Broadly speaking, the discovery of objects from the Hindu and Buddhist in Tulungagung can be grouped into two areas. The first region is the northern districts Tulungagung. In this region most of the objects found are patterned objects Hinduism, for example, is the discovery of Mirigambar temples, statues relating to the gods in the Hindu religion, as well as many found jaladwara. The second region is the southern districts Tulungagung. In this region most of the objects found are patterned objects Buddhism, for example, the discovery of Gayatri temple, Dadi temple, and temple Sanggrahan.
Tulungagung function of the temple in the district other than as a cemetery is a place of worship. God who was worshiped in Hinduism is Tri Murti. Tri Murti is the name for Lord Shiva, Lord Brahma and Lord Vishnu. Dewa Siwa regarded as the god of melting and is the god who has the highest position in comparison with the other gods. Lord Shiva has animal mounts (rides) are called 'Nandi'. Therefore, in some temple used to worship a statue of Shiva, Nandi.
Statue of Nandi also been found d daeerah Tulungagung. The statue was found in the Village of Spring. Nandi statue is probably a relic of the kingdom of Majapahit. This is because at about the 15th century AD Tulungagung District, who was then still called Ngrowo the territory of the Kingdom of Majapahit. Tulungagung that was once the domain of Majapahit lead in this area are found relics of Hindu-Buddhist. Heritage of Hindu culture spread across most of northern Tulungagung, whereas most of the relics of Buddhist culture spread in the southern Tulungagung.
Most people do not understand about the meaning Tulungagung statues of Hindu-Buddhist relic is. This causes the Tulungagung not know the importance of the objects. Remains, the remains were to be less well maintained. Society just consider it as something that is worthless. That's what led to the remains, the remains of the Hindu-Buddhist like Nandi statue was brought to the museum Tulungagung.

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Candi Gunung Gangsir

Temple Mount digger is a temple located in Temple Kebon Hamlet, Village of Mount digger, District Beji, Pasuruan regency, East Java. But not many people know about the existence of this temple. Because of this temple was never a field trip attractions and objects. Moreover, until recently, the temple was still in the process of restoration due to damage suffered. Temple Mount from the digger had improved from 2004 to the present. For the neglect of the restoration of this temple is the lack of rocks that can be used to restore the temple. In addition, to restore the temple reliefs, encountered many difficulties when it was discovered because of this temple is not in its entirety. Is estimated that the temple was built during the reign of Airlangga (http://indopedia.gunadarma.ac.id/content/125/3176/id/candi-gununggangsir.html accessed on October 8, 2011 at 11:40 pm)
According to the tomb guard, Mr. Edy Susanto, this temple was built not as a place pendharmaan king, but to honor a figure in the mythology of the local villagers who named Nyai Sri Gati or Mbok Rondo Dermo. In the past, present around the village called Village of Mount digger, the community life of wandering (nomadic) and similar eating grass. However, then the situation becomes precarious because food supplies were running low. Until there came a man named Nyai Sri Gati. He intends to help local people by getting them to pray to Sang Hyang Widhi to ask for help. Finally, relief came through a bunch of bird dropping grains near them. By Nyai Sri Gati, rice is planted. Several months later, the rice can be harvested. Seeing his success, Nyai Sri Gati was then taught to the public on how to plant and cultivate rice to be used as food. The story tells Sri Gati Nyai grains can be eaten, while the skin is turned into a gem that makes it rich.
Jika ditilik dari cerita yang dipaparkan oleh juru kunci, tujuan pembangunan candi dikarenakan berkembangnya pertanian di kawasan Desa Gunung Gangsir terdukung oleh adanya areal pertanian luas yang letaknya tidak jauh dari candi ini. Hanya berjarak sekitar 100 meter dari candi.
Candi Gunung Gangsir merupakan candi yang terbuat dari batu bata berukir dan memiliki 4 lantai atau 4 tingkatan. 2 lantai dasarnya merupakan tubuh dan atap candi yang sebenarnya. Denahnya berbentuk segi empat, sesuai dengan kriteria bangunan candi yang terdapat dalam kitab Silpasastra. Lantai dasarnya yang berbentuk segi empat memiliki sebuah tonjolan pada sisi timurnya, berlawanan dengan arah keletakan tanga. Tubuh dan atap candi juga memiliki bentuk dasar segi empat dan di keempat bagian sisi dinding tubuh candi juga memiliki bidang tonjolan yang rapi. Seperti candi-candi pada umumnya, Candi Gunung Gangsir pun memiliki relief-relief cerita. Hanya saja saat ini, candi kecil ini tidak lagi utuh sebab pada masa pendudukan Jepang, batu-batuan candi sering diambil (http://id.wikipedia.org/wiki/Candi_Gunung_Gangsir diakses tanggal 08 Oktober 2011 pukul 11.43 WIB).
Respon Masyarakat Setempat Terhadap Candi Gunung Gangsir
Masyarakat yang hidup di daerah sekitar Candi Gunung Gangsir yaitu di dukuh Kebon Candi dan Dermo adalah masyarakat yang mayoritas muslim. Namun mereka cukup menghargai dan welcome terhadap keberadaan candi yang notabene merupakan warisan agama Hindu ini. Terbukti dengan adanya usaha swadaya masyarakat dalam merawat Candi Gunung Gangsir dan halaman di sekitarnya. Candi ini diperlakukan selaknya barang peninggalan purbakala yang patut dijaga dan dilestarikan. Tidak ada sikap berlebihan terhadap candi ini seperti pemujaan, pengeramatan, dsb.
Sebagian besar masyarakatnya bangga atas adanya Candi Gunung Gangsir di desa mereka. Sebab tak semua desa punya aset cagar budaya masa lampau berwujud candi. Namun sayangnya, mereka tidak menerapkan sistem zoning terhadap candi ini dan kawasannya. Sehingga mereka tidak mengosongkan candi dan lingkungannya dalam radius tertentu. Candi yang dilindungi hanya sebatas bangunan fisik candi dan pekarangan seluas 200 m2 sedangkan sekelilingnya adalah pemukiman warga yang berdekatan, sehingga sampai saat ini pun belum bisa diketahui apakah tidak ada peninggalan-peninggalan lain yang bersangkutan dengan candi ini.
Daftar Pustaka
http://id.wikipedia.org/wiki/Candi_Gunung_Gangsir diakses tanggal 08 Oktober 2011 pukul 11.43 WIB.
http://indopedia.gunadarma.ac.id/content/125/3176/id/candi-gununggangsir.html diakses tanggal 08 Oktober 2011 pukul 11.40 WIB.
sebagian besar sumber adalah hasil wawancara dengan juru kunci pada April 2008.

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Kawasan Candi Gambar Wetan sebagai Aset Kepurbakalaan Jaman Hindu Budha Kabupaten Blitar

Abstract:
Gambar Wetan Temple is one of the Majapahit State Temple, this temple have health resort function for King Hayam Wuruk and ancestors soul altar. Gambar Wetan Temple have interesting environment for tourist to visit sub-province of Blitar because this temple’s environment still natural and most of the people do not know where the place of the temple.
Jawa Timur memiliki banyak aset pariwisata mulai dari wisata bahari, wisata ziarah, wisata kota tua, sampai wisata kepurbakalaan. Hal ini merupakan kekayaan tersendiri bagi masyarakat maupun pemerintah daerah yang sangat menguntungkan dari segi ekonomi maupun budaya. Potensi daerah- daerah di Jawa Timur ini perlu dikembangan baik dalam pemeliharaan, perlindungan maupun pengenalannya kepada masyarakat lokal maupun Internasional, karena jika hal ini dapat dilakukan dengan baik maka akan menarik wisatawan domestik maupun Asing untuk mengunjungi pariwisata yang ada di Provinsi Jawa Timur.
Blitar salah satu contoh daerah di Jawa Timur yang memiliki Ikon pariwisata kepurbakalaan berupa candi khususnya peninggalan kerajaan Majapahit yang tersebar diseluruh wilayah kota maupun kabupaten Blitar. Namun dalam pengembangan aset pariwisata, pemerintah banyak menemui kendala, baik dari dalam maupun dari luar seperti tenaga pemelihara dan juga pendanaan pemeliharaan Objek wisata terutama candi. Karena sampai sekarang pemerintah khususnya pemerintah Kabupaten belum bisa memperhatikan secara menyeluruh dari potensi yang dimiliki oleh masing- masing kawasan candi- candi di Blitar. Bahkan akses pengenalan dan informasi mengenai Benda Cagar Budaya (BCB) di Blitar sangat sulit untuk diakses baik oleh masyarakat sendiri maupun wisatawan dari luar daerah.
Oleh karena itu sangat dibutuhkan kerjasama yang baik antara masyarakat dan pemerintah dalam upaya pengembangan potensi wisata serta pemeliharaannya. Selain itu pengenalan terhadap masyarakat terutama generasi muda perlu ditingkatkan karena nilai lebih dari wisata kepurbakalaan selain nilai wisata juga memiliki nilai pendidikan atau pembelajaran bagi siswa yang sangat menunjang proses belajar dan pengenalan lebih dini terhadap peninggalan-peninggalan bersejarah dan nilai budaya yang terkandung didalamnya.
Uraian di atas membuat kami tertarik untuk melihat seperti apa potensi yang dimiliki kawasan Candi Gambar Wetan sehingga dapat dijadikan aset pariwisata kabupaten Blitar serta Apa sajakah faktor yang menghambat dalam pengembangan Candi Gambar Wetan dan Bagaimana cara pengembangan yang dapat dilakukan untuk mengoptimalkan potensi yang dimiliki oleh kawasan Candi Gambar Wetan. Dalam penulisan ini kami mengungkapkan makna dibalik fenomena yang ada dengan deskripsi tebal (thick description)
Peninggalan-peninggalan Arsitektur Bercorak Hindu
Bentuk peninggalan arsitektur bercorak Hindu adalah candi, arca, keraton, gapura, petirtaan dan pertapaan.
(1) Candi, Kata Candi berasal dari kata Candikagrha yang bermakna rumah candika. Candika merupakan salah satu nama dari Dewi Durga atau Dewi Kematian sehingga kata candi digunakan untuk menyebut bangunan suci Hindu yang berhubungan dengan kematian para raja atau tokoh- tokoh terkemuka. Karena memiliki fungsi sebagai tempet penyimpanan atau penanaman abu jenazah serang raja. Candi sebagai bangunan terdiri atas 3 bagian yaitu kaki, tubuh dan atap.
(2) Arca adalah patung yang terutama dibuat dari batu yang dipahat menyerupai bentuk manusia atau binatang. Fungsi Arca sebagai media untuk menjalankan semedi, sebagai berhiasan bangunan atau sebagai patung kuburan yang ditempatkan pada bilik.
(3) Petirtaan merupakan tempat pemandian suci yang sering digunakan oleh kalangan istana kerajaan misalnya petirtaan di Jolotondo dan Tirtha Empul di Bali.
(4) Gapura merupakan bangunan yang berupa pinti gerbang ada yang beratap serta berdaun pintu dan ada yang menyerupai candi yang terbelah dua. Misalnya Gapuura di belahan, Wringin Lawang di Trowulan
(5) Pertapaan merupakan bangunan yang diceukkan pada suatu gua batu dan difungsikan sebagai tempat tinggal para pertapa. Misalnya gua Selomangleng yang terletak di Kediri dan goa gajah di Bedulu, Bali.
(6) Keraton merupakan rumah tempat tinggal ratu atau raja misalnya keratn kuno Majapahit yang terletak didaerah Trowulan Mojokerto.
Candi sebagai Ikon Pariwisata Kota Blitar
Blitar salah satu daerah di Jawa Timur yang memiliki kekayaan wisata kepurbakalaan terbanyak yaitu candi peninggalan kerajaan Majapahit yang tersebar lebih dari 25 Kawasan di kota maupun kabupaten Blitar. Antara lain Candi Bacem (Sutojayan, Blitar),Candi Boro (Sanan Kulon, Blitar),Candi Kalicilik (Ponggok, Blitar),Candi Kotes (Gandusari, Blitar),Candi Wringin Branjang (Gandusari, Blitar,)Candi Sawentar (Kanigoro, Garum, Blitar),Candi Sumbernanas (Ponggok, Blitar),Candi Sumberjati atau Candi Simping (Suruhwadang, Blitar), Kompleks Percandian Penataran (Nglegok, Blitar), Candi Penataran (Nglegok, Blitar),Candi Gambar Wetan (Nglegok, Blitar),Candi Plumbangan (Doko, Blitar Candi Tepas (Kasembon, Blitar). Oleh karena itu Candi sebagai Ikon Pariwisata kota Blitar selain Kota Bung Karno.
Arsip Tentang Candi Gambar versi Dinas Pariwisata Kab. Blitar
Candi Gambar Wetan adalah sebuah candi yang terletak di kabupaten Blitar, Jawa Timur. Candi Gambar Wetan terletak 7 km ke arah utara Candi Panataran, sedangkan Panataran terletak 12 km utara Kota Blitar. Tidak ada kendaraan umum yang secara khusus bisa mengangkut wisatawan langsung ke Candi Gambar Wetan tetapi dapat dengan menumpang truk pasir ke arah penambangan pasir atau disebut juga dengan "laharan" di sebelah selatan perkebunan Candi Sewu.Sebagian dari keseluruhan tanah di sekitar candi ini tanah berpasir karena candi ini terletak di sebelah sebelah selatan Gunung Kelud dan menjadi aliran lahar Gunung Kelud.
Candi ini dapat ditempuh dengan menumpang truk pasir ke arah utara 7 km dan baru berjalan kaki ke arah candi dengan melewati wilayah perkebunan tebu  (dahulu perkebunan kopi pada zaman belanda).Candi ini tidaklah utuh (dapat dilihat dalam gambar disamping) Hanya tinggal batur candi yang masih utuh dengan sebagian relief yang masih tersisa. Bagian lain dari komponen areal ini adalah 2 buah dwarapala yang menjaga di pinggir tangga masuk candi ini. Candi berada diatas puncak bukit dengan melalui tangga yang dibuat dengan dwarapala yang menjagany). Berdasarkan berbagai gaya yang ditemui dari sisa hiasannya, candi ini diperkirakan dibangun pada masa kerajaan Majapahit.hal ini dapat dilihat dari model arsitektur candi pada puncaknya terdapat bentuk ratna, seperti candi selogriyo, candi prambanan, candi sambisari - relief cerita di dingding candi misal di candi prambanan yaitu ramayana dan krisnayana - terdapat arca dewi trimurti (brahma, siwa, wisnu), durgamahisasuramardini, agastya, ganesha (baik dalam bilik candi maupun relung dinding candi).
Selain itu  candi ini juga letaknya juga tak jauh dari kompleks candi penataran yang merupakan lambang dari ketatanegaraan majapahit yang teratur secara rapi. Jadi secara keseluruhan dapat disimpulkan bahwa candi gambar wetan ini merupakan hasil dari peninggalan kerajaan hindu majapahit yang dibangun berdekatan dengan kompleks candi penataran. (Narasumber Bapak Basuki)
Arti penting Pariwisata bagi Kabupaten Blitar
•    Menarik investor
•    Menambah pendapatan daerah di sektor pariwisata
•    Memperluas lapangan kerja melalui peran investor
•    Mengembankan potensi kepariwisataan
•    Menarik wisatawan
•    Mencari predikat sebagai kota wisata
Hambatan Pemerintah Kabupaten Blitar
Hambatan pemerintah kabupaten Blitar tentang pengelolaan sektor pariwisata serta pengembangannya
•    Kurangnya anggaran daerah untuk sektor  pariwisata
•    Kurangnya kesadaran pengunjung atas partisipasi pengelolaan lokasi wisata (coret-coret candi, perusakan infrastruktur tempat wisata dll.)
•    Kurang adanya SDM yang ahli di bidang kepariwisataan sejarah ( kurangnya tenaga tour guider)
•    Kurangnya Tenaga kerja yang ditugaskan untuk mengurusi sektor kepariwisataan)
•    Obyek wisata tergolong cenderung tak menarik lagi (pengunjung mulai bosan)
•    minimnya fasilitas yang menunjang kegiatan kepariwisataan
•    minimnya pengetahuan investor, sehingga jarang ada investor yang ingin berinvestasi
Potensi Dari Kawasan Candi Gambar
a. Nilai Wisata/ Ekonomis
Ditinjau dari letak Candi Gambar wetan sangat strategis karena saling berdekatan dengan lokasi tempat wisata lain seperti Candi Penataran dan Wisata gunung Kelud, hal ini merupakan potensi yang sangat baik jika dikembangkan dan akan menarik wisatawan untuk mengunjungi beberapa tempat pariwisata secara berurutan.
b. Nilai Sosial dan Budaya
Masyarakat didaerah ini masih mengenal kepercayaan mistis yang terdapat di kawasan Candi Gambar Wetan sehingga pada Jumat Legi masyarakat sekitar selalu melakukan upacara adapt yang disebut jug dengan istilah nyadran dan selametan dipimpin oleh tokoh adapt dengan balutan tradisi kejawen hal ini akan menjadi daya tarik tersendiri bagi wisatawan yang ingin melihat prosese acara adat tersebut
c.  Nilai Kealamian/ Naturalis
Kawasan Candi Gambar masih sangat asri karena masih belum banyak terjamah oleh manusia kawasannya juga terletak diatas bukit memiliki udara yang sejuk dan tidak akan ditemui pada wisata candi di kabupaten blitar lainnya. Ini juga merupakan nilai tambah karena wisatawan dapat menikmati sensasi alam yang masih alami.
d.  Nilai Pendidikan/ pembelajaran
Candi Gambar Wetan merupakan salah satu peninggalan Kerajaan Majapahit dari anpan dari Candi Penataran sehingga memiliki nilai sejarah yang sangat tinggi. Jadi dapat dijadikan tujuab isata pendidikan bagi siswa yang ingin lebih mengenal sejarah dan benda Cagar Budaya.
Candi Gambar Wetan
Candi Gambar Wetan berlokasi di Dusun Gambar desa Sumber Asri Kecamatan Ngelegok Kabupaten Blitar. Jarak dari kota Blitar menuju Candi gambar ± 20 km. Letak Candi ini cukup syrategis ditinjau dari lokasi pariwisata lain yaitu ± 7 Km dari candi Penataran dan ± 13 Km dari wisata Gunung Kelud, candi Gambar wetan ini berangka tahun 1260 saka. Hal tersebut diketahui dari pahatan pada kaki salah satu arca Dwarapala. Candi ini merupakan peninggalan gari kerajaan Majapahit dan sering digunakan sebagai tempat peristirahatan sementara Hayam Wuruk dalam perjalanannya menuju Candi Utama yaitu Candi Penataran. Sehingga Candi Gambar Wetan dapat dikatakan sebagai “ampean” dari Candi Penataran. Sebelumnya Candi ini bernama Candi Bodo namun seiring berjalannya waktu namanyanya pun diganti menjadi Candi Gambar Wetan. Hal ini didasarkan lokasi yang terletak di Dusun Gambar dan berada disebelah timur, sehingga sampai saat ini masyarakat sekitar menyebut Candi Gambar Wetan.
Candi Gambar Wetan terdiri dari dua pintu gerbang yang masing- masing dijaga oleh Dwarapala yang menghubungkan halaman depan ke Balai Kambang (Candi Induk). Pada pintu pertama dijaga oleh 2 Arca Dwarapala yang disebut Mbah Bodo dan Mbah Dewo, Bodo disini berasal dari kata Budha sedangkan Dewo berasal dari kata Dewa letak kedua arca Dwarapala tersebut saling berdampingan namun karena disebelah selatan kawasan candi sangat curam maka suatu ketika Arca Dewa terguling ke selatan dan berpindah kurang lebih 100 meter kearah selatan sehinnga menyebabkan Arca yang awalnya menghadap ke barat menjadi ke Utara.dan pada pintu kedua juga  dijaga oleh dwarapala namun Arca di Utara masih terpendam, Setelah melewati pintu kedua kita langsung dapat melihat Balai Kambang ( Candi Induk) yaitu tempat peristirahatan Hayam Wuruk sebelum melakukan perjalan ke Candi utama yaitu Candi Penataran.
Faktor Penghambat Pengembangan Candi Gambar Wetan
Akses jalan yang masih kurang baik (dapat dilihat pada gambar di bawah ini) karena sepanjang 3.5 Km wisatawan harus dihadapkan oleh jalan berpasir dan sempit sehingga menyulitkan para pengunjung untuk sampai ke tempat wisata dengan cepat. Ditambah lagi tidak tersedia angkutan umum menuju kawasan Candi.
Selain itu kurang tanggapnya pemerintah setempat terhadap pengadaan fasilitas dan pemeliharaan kawasan merupakan faktor paling utama yang penghambat pengembangan dari potensi candi, karena selama ini petugas dan biaya peliharaan ditanggung oleh Dinas Kepurbakalaan Trowulan, Mojokerto. Jadi dana yang tersediapun sangat minim untuk memenuhi semua kebutuhan pemeliharaan candi.
Kurang berpartisipasinya masyarakat dalam pemeliharaan serta pelestarian peninggalan nenek moyang yang sebenarnya patut untuk dihargai dan dikembangan untuk memenuhi kebutuhan infomasi untuk generasi yang akan datang.
Cara Pengembangan  Potensi Kawasan Candi Gambar Wetan
•    Mensosialisasikan kepada masyarakat mengenai potensi dan keberadaan dari lokasi- lokasi wisata di Kabupaten Blitar
•    Melakukan pelatihan terhadap petugas- petugas/ guide untuk mencetak  informan yang handal sehinngga diharapkan dapat mempromosikan pariwisata kepada wisatawan
•    Mengefektifkan kinerja dari duta pariwisata Kabupaten Blitar (Gus Jeng Blitar) dalam mempromosikan khususnya pariwisata yang masih belum dikenal masyarakat luas.
•    Melakukan promosi untuk mencari investor agar pengembangan segera untuk diimplementasikan baik di media cetak, elektronik dan internet
•    Melakukan evaluasi dan membuat program kerja serta peninjauan langsung, agar pemerintah mendapat informasi keluhan dari petugas dalam mengembangkan wisata tersebut.
•    Masyarakat harus lebih peduli dengan potensi daerah masing-masing dengan mengutamakan pengetahuan pariwisata daerah sendiri sebelum mengenal kebudayaan/ wisata dari daerah lain.
•    Melakukan pemugaran terhadap Candi Gambar Wetan karena diperkirakan masih banyak kompleks candi yang tertimbun dibawah bukit selain itu jika pemugaran bias segera dilaksanakan diperkirakan luas keseluruhan kawasan candi dapat melebihi luas Kompleks Candi Penataran.
Penutup
Aset pariwisata memiliki arti yang penting dalam menunjang pembangunan pada suatu daerah sebab dapat mendatangkan keuntungan yang akan menambah pendapatan daerah, jadi masalah yang menjadi penghambat berkembangnnya suatu tempat wisata merupakan masalah bersama yang harus di cari solusinya.
Daftar Pustaka
Artono. 2008. Candi-candi di Indonesia, (Online) http://id.wikipedia.org/wiki/Candi diakses 15 Desember 2009
Boechari. 1997. Epigrafi Dan Sejarah Indonesia. Majalah Arkeologi I.
Endo, Hardjasoewita, M. 1953. Sejarah Indonesia. Jakarta : Publishing Company Quick.
Jacob, Sumardjo. 1982. Mengenal Candi. Jakarta. Cypress.
Jenar, Mahesa. 2009. Kepurbakalaan Jawa Tenggara, (Online) http:// www .purbakala. jawatengah. go.id/ detail_berita.php? act =view&idku= 19 diakses 17 desember 2009
Kurnia, Anwar, 2003. Kronik Sejarah. Jakarta, Yudhistira.
Notosusanto, Nugroho. 1984. Sejarah Indonesia Jilid II. Jakarta: Departemen Pendidikan dan Kebudayaan.
Muljana, Slamet. 1965. Menudju Puntjak Kemegahan (Sedjarah Keradjaan Madjapahit). Djakarta. Balai Pustaka
Undang- undang RI No 5 Pasal 15  tahun 1992 tentang Pemeliharaan dan Perlindungan Benda- benda Cagar Budaya.

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