Location: 400 meters (1,312 miles) east of the East Baray

Warning! this temple is somewhat islocated, and you should be vigiland of your possessions and travel with a local guide. The temple is worth the extra effort to experience the elaborate architecture, and fine carvings, although theft has mutilated many of the temple's  treasures

Banteay Samre is one of the most complete complexes at Angkor due to restoration using the method of anastylosis. Unfortunately, the absence of maintenance over the past 20 years is evident. The name Samre refers to an ethnic group of mountain people, who inhabited the regions at the base of Phnom Kulen and were probably related to the Khmers. No inscription has been found for this temple, but the style of most of the architecture is of the classic art of the middle period similar to Angkor Wat. The monument most likely dates from the same period, or, perhaps, slightly later, although there are additions attributed to the Bayon style. The proportions of Banteay Samre are plended. A unique feature is an interior moat with laterite paving, which when filled with water must have given an ethereal atmosphere to the temple. All of the buildings around the moat are on a raised base with horizontal mouldings, decoreated in some areas with figures framed by lotus buds.

By the 20th century, much of the temple had largely collapsed, and restoration efforts have since proven problematic: a first effort begun in 1960 was interrupted by the coming to power of the Khmer Rouge, and records of the positions of the stones were lost. A second attempt started in 1995 by a team of French-led archeologists as of 2005 was still ongoing, restricting visitor access.

As of May 2006, partial visitor access is once again allowed, though the project is still expected to be underway for another 2 years.

The majestic ziggurat of Ta Keo, most enigmatic of the minor fanes, stepping up toward the sun with dignity and power suggestive of Angkor vat. It is dripping with green and crowned with trees, but is still supreme over the forest. Its rocky masses, rising above the tops of the coconut palms, convert the impression that it only recently emerged from some cavern underground, carrying the forest with it in its rocketing ascent.

Ta Keo's lack of ornament makes it distinctive among the works of the Khmer, who were so prodigal of decoration. But its very simplicity give it architectural importance, its plan shows the development of anew spirit in the people, the growth of good taste.

Tip: The ascent to this temple is step and because of its orientation a visit in the morning is preferable. It was built in the end of the tenth century to early 11th century by the King Jayavarman V to Suryavarman I dedicated to Siva (Hindu), replica to Kleang style of art.

An unusual aspect of this temple is that it remains unfinished; the reason for its no completion is unknown. Had it been finished, Ta Keo would undoubtedly have been one of the finest temples at Angkor. It is an imposing sight, scaling 22 meters (72feet) to the sky, and gives an impression of power. Ta Keo is the first temple built entirely in sandstone and as such serves as a milestone in Khmer history. Enormous blocks of stone were cut to a regular size and placed in position. The absence of decoration at ta Keo gives it a simplicity of design that separates it from the other monuments.

Ta Keo is square in Plan with five towers arranged like the dots on the face of a die and stands majestically on a terrace that is 12 meters (39 feet) high with three tiers. It is a representation of Mount Meru. The base has fine molding. The temple has two enclosures (1 and 2) with entry towers on each side. There are inscription on the pilasters of the east entry tower (3). The first two tiers of the platform form the base of two courtyards. One is enclosed by a wall the other by a gallery, the gallery is too narrow to permit walking around.

The east entrance to Ta Keo is marked by a causeway over a moat that is preceded by lions and boundary stones ( not shown on the plan ). The entry tower in the exterior wall was made of sandstone with a central tower and three passages. On each  side of the east wall there was a long hall (4) that was probably a shelter for pilgrims. It was preceded by a porch with pillars (5).

The second terrace has a molded laterite base with four sandstone entry towers, one on each side. It is surrounded by a sandstone gallery lit by windows on the in terrier. The gallery completely surrounds the terrace and has openings on each of the four sides. On the east there are two long halls (6) of the same type as the rest halls on the first terrace. Two libraries (7) open to the west.

The upper level is square and stands on a tiered base with stairways on each side> Most of the space on the upper level is occupied by the five tower, all unfinished, opening  to the four cardinal points. The Central Sanctuary (8) dominates the layout. It is raised above the other towers and is given further importance by the development of porches and pediments. The interior of the central tower is undecorated

Prasat Kravan is a temple at Angkor, Cambodia, located south of the Srah Srang baray. The remains, reconstructed in the 19th century by the French, consist of five brick towers on a raised platform; while the exterior is unremarkable, some of the interiors feature unusual brick bas-reliefs. The central tower features bas reliefs of Vishnu in his form as Vamana as well as the god astride his mount, Garuda, both flanking a monumental eight-armed depiction.

The westernmost tower features a bas relief of Lakshmi, Vishnu's consort. The goddess holds both the trident of Shiva and the discus of Vishnu, possibly marking her as the great goddess who transends the duality of Saiva and Vaishnava worship.

Chau Say Tevoda and Thommanon are two small monuments close together (on the left and right sides of the road) and similar in plan and style. Although the precise dates of these monuments are unknown, they belong to the best period of classic art stylistically and represent two variations of a single theme of composition. Chau Say Tevoda has deteriorated more than Thommanon.

Chau Say Tevoda is rectangular in plan, with a Central Sanctuary opening to east, an enclosing wall with an entry tower in the middle of the enclosing wall at the east entrance.

The entry towers (1) are mostly demolished except for traces of the bases and stair ways with sculpted steps. A raised causeway (3) on three rows of octagonal supports (later than the monument) and a terrace link the east entry tower to a nearby river to the east.