Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five beehive-like towers rising 65 meters from ground level. Angkor wat is the centerpiece of any visit to the temples of Angkor.

At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat (Early to Mid 12th century) in the form of massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple's uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II's funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as prototype to Angkor Wat.

Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology, and the historical wars of Suryavarman II.

The northern reflecting pool in front is the most popular sunrise location. The sun will rise behind Angkor Wat providing a silhouette of Angkor's distinctively shaped towers against a colored sunrise sky.

Angkor Thom (Big Angkor) is a 3km square walled and moated royal city and was the last capital of the Angkorian empire. After Jayavarman VII recaptured the Angkorian capital from the Cham invaders in 1181, he began a massive building campaign across the empire, constructing Angkor Thom as his new capital city. He began with existing structures such as Baphuon and Phimeanakas and built a grand enclosed city around them, adding the outer wall/moat and some of the Angkor's greatest temples including the state-temple, Bayon, set at the center of the city. There are 5 entrances (gates) to the city, one for each cardinal point, and the victory gate leading to the Royal Palace area. Each gate is crowned with 4 giant faces. The South Gate is often the first stop on a tour of the temples.

The giant stone faces of Bayon have become one of the most recognizable images connected to classic Khmer art and architecture. There are 37 standing towers, most but not all sporting four carved faces oriented toward the cardinal points. Who the faces represent is a matter of debate but they maybe Loksvara, Mahayana Buddhism's compassionate Bodhisattva, or perhaps a combination of Buddha and Jayavarman VII. Bayon was Jayavarman VII's state-temple and in many ways represent the pinnacle of his massive building campaign. It appears to be, and is to some degree, an architectural muddle, in part because of it was constructed in a somewhat piecemeal fashion for over a century.

The best of Bayon are the bas-reliefs on the exterior walls of the lower level and on the upper level where the stone faces reside. The bas-reliefs on the southern wall contain real-life scenes from the historical sea battle between the Khmer and the Cham. It is not clear whether this represents the Cham invasion of 1177AD or a later battle in which the Khmer were victorious. Even more interesting are extensive carvings of unique and revealing scenes of everyday life that are interspersed among the battle scenes, including market scenes, cockfighting, chess games and childbirth. Also note the unfinished carvings on other walls, likely indicating the death of Jayavarman VII and the subsequent end of his building campaign. Some of the reliefs on the inner walls were carved at a later date under the Hindu king Jayavarman VIII. The surrounding tall jungle makes Bayon a bit dark and flat for photographs near sunrise and sunset.

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Constructed by Jayavarman VII in mid 12th century to early 13th century, this quiet sprawling monastic complex is only partially cleared of jungle overgrowth. Intentionally left partially unrestored, massive fig and silk-cotton trees grow from the towers and corridors offering some of the best 'tree-in-temple' photo opportunities at Angkor. Flocks of noisy parrots flit from tree to tree adding to the jungle atmosphere. Ta Prohm is well worth an extended exploration of its dart corridors and open plazas. This temple was one of the Jayavarman VII's first major temple projects. Ta Prohm was dedicated to his mother. Ta Prohm was originally constructed as a Buddhist monastery and was enormously wealthy in its time, boasting of control over 3000 villages, thousands of support staff and vast stores of jewels and gold.

Ta Prohm was one of the shooting scenes in Angelina Jolie's Tomb Raider movie released in 2001.

Banteay Samre was constructed in mid 12th century by Suryavarman II, a Hindu temple. Large, relatively flat temple about 3km off of the grand circuit, near the southeast corner of the East Baray. The temple underwent extensive restoration this century by archaeologists using the anastylosis method (dismantling and then rebuilding). Banteay Samre was constructed around the same time as Angkor Wat. The style of the towers and balustrades bear strong resemblance to the towers of Angkor Wat and even more so to Khmer temple of Phimai in Thailand. Many of the carvings are in execellent condition. The trip there is a nice little road excursion through villages and paddies.

Banteay Srey loosely translates to 'citadel of the women', but this is a modern appelation that probably refers to the delicate beauty of the carvings. Built at a time when the Khmer Empire was gaining significant power and territory, the temple was constructed by a Brahmin counselor under a powerful king, Rajendravarman and later under Jayavarman V (around late 10th century). Banteay Srey displays some of the finest examples of classical Khmer art. The walls are densely covered with some of the most beautiful, deep and intricate carvings of any Angkorian temple. The temple's relatively small size, pink sandstone construction and ornate design give it a fairyland ambiance. This temple was discovered relatively late, in 1914. The temple lies 38km from Siem Reap.

The Roluos Group (late 9th century) is a collection of monuments representing the remains of Hariharalaya, the first major capital of the Angkorian era Khmer Empire. It has become known as the 'Roluos Group' due to its proximity to the modern town of Roluos. The ancient capital was named for Hari-Hara, a synthesis of the Hindu gods Shiva and Vishnu. Though there was an existing settlement in the area before the rise of Angkor, Hariharalaya was established as a capital city by Jayavarman II and served as the Khmer capital for over 70 years under four successive kings. Setting the pattern for the next four centuries, the first great Khmer temples (Bakong, Preah Ko, Lolei) and baray (reservoir) were constructed at Hariharalaya. The last king at Hariharalaya, Yasovarman I, built the first major temple at Angkor, Phnom Bakheng, and moved the capital to the Bakheng area in 905. With the exception of a 20 year interruption in the 10th century, the capital would remain at Angkor untill 1422. The Roluos Group is 12km from Siem Reap.

Preah Ko (879AD by Indravarman I), one of the first major temples of the empire at the early Khmer capital of Hariharalaya. Preah Ko (Sacred Bull) derives its name from the statue of bulls at the front of the central towers. Many of the carvings are in the very good condition providing excellent examples of the deep, vivid Preah Ko style Khmer art.

Bakong (881AD by Indravarman I). The most impressive member of the Roluos Group, sitting at the center of the first Khmer capital, Hariharalaya. Bakong stands 15 meters tall and is 650x850 meters at the outer wall. Constructed by the third Angkorian-era king as his state-temple, Bakong represents the first application of the temple-mountain architectural formula on a grand scale and set the architectural tone for the next 400 years. The temple displays a very early use of stone rather than brick. Though begun by Indravarman I, Bakong received additions and was expanded by later kings. The uppermost section and tower may have been added as late as the 12th century AD. Some of the lintel carvings, particularly on the outer towers, are in very good shape. Picturesque moat and vegetation surround Bakong.

Lolei (893AD by Yasorvarman I). An island-temple consisting of four brick towers on a double laterite platform. Located in the center of the first large-scale baray constructed by Khmer king. The last major temple built at Roluos before Yasorvarman I moved the capital to the Angkor area. Though the towers are in poor condition, there are some good lintel carvings, which display the distinctively detailed Preah Ko style.

Phnom Bakheng, constructed in late 9th - early 10th century by Yasorvarman I. The construction of this temple mountain on Phnom Bakheng (Bakheng Hill), the first major temple to be constructed in the Angkor area, marked the move of the Khmer empire from Roluos to Angkor in the late 9th century AD. It served as Yasorvarman I's state-temple at the center of his new capital city Yasodharapura. The foundation of Bakheng is carved from existing rock edifice rather than the laterite and earthfill of most other temples. Bakheng's hilltop location makes it the most popular sunset location in the area, offering a view of the Tonle Sap and a distant Angkor Wat in the jungle. Often crowded at sunset.

Ta Keo, constructed late 10th - early 11th century by Jayavarman V. Towering but plainly decorated temple-mountain dedicated to Shiva. Known in its time as 'the mountain with golden peaks'. The first temple to be constructed wholly of sandstone. Constructed as a state-temple by Jayavarman V. Unlike previous kings, he built Ta Keo outside of his main capital area. Many Angkorian temples are partially unfinished, but Ta Keo seems to have stopped construction particularly early in the decoration phase of construction, as there are very few carvings.

Pre Rup, constructed late 10th century (961AD) by Rajendravarman II. Architecturally and artistically superior temple-mountain. Beautifully carved false doors on upper level, as well as an excellent view of the surrouding countryside. Traditionally, believed to be a funerary temple, but in fact the state temple of Rajendravarman II. Historically important in that it was the second temple built after the capital was returned to Angkor after a period of political upheaval when the capital had been moved to Koh Ker.

Prasat Kravan, constructed in 921AD by Harshavarman I. Reconstructed, unique brick towers containing large wall sculptures of Vishnu and Lakshmi in the brick. Originally constructed by a nobleman rather than a king. Reconstructed by archaeologists in the early 20th century.

Srah Srang, contruscted in mid 10th and late 12th century by Jayavarman VII. Picturesque baray opposite the east entrance of Banteay Kdei. Originally constructed by the same architect that built Pre Rup. Remodeled in the 12th century as part of Jayavarman VII's massive building campaign. The very sparse remains of an island temple can be seen in the middle of the lake during dry season when the water is low.

Banteay Kdei, constructed late 12th - early 13th century by Jayavarman VII. Sprawling, largely unrestored, monastic complex in much the same style as Ta Prohm. It was originally constructed over the site of an earlier temple, and functioned as a Buddhist monastery under Jayavarman VII. As with other works of Jayavarman VII's era, it is a tightly packed architectural muddle, which like Bayon, suffered from several changes in the plans at the time of construction. It was also built using an inferior grade of sandstone and used poor construction techniques, leading to much of the deterioration visible today. The foundation stele of the temple has not been found so there is no record of to whom it is dedicated. The 13th century vandalism of Buddha images that is seen on many Jayavarman VII temples is quite apparent on Banteay Kdei.

Innumerable apsaras (celestial dancers) adorn the walls of many of the Angkorian temples. Their earthly counterparts performed traditional dances for the kings, and these dances have been passed down through the ages. A traditional apsara dance show is an absolute must for the visitor to Cambodia. Nightly dinner-theatre performances are held at several locations. The Grand Hotel D'Angkor Performance Hall's beautiful riverside venue and Apsara's Theatre's (Angkor Village) elegant wooden performance hall have gained them excellent reviews. The attached photo gallery is from Apsara Theatre Performance Hall.