Béni Haçan，地下建筑-Amonei墓 - 美国大都会艺术博物馆展品查阅

品名（中）	Béni Haçan，地下建筑-Amonei墓
品名（英）	Béni-Haçan, Architecture Hypogéene - Tombeau d'Amoneï
入馆年号	1976年，1976.607.13
策展部门	摄影（Photographs）
创作者	Félix Teynard【1817 至 1892】【法国人】
创作年份	公元 1851 - 公元 1852
创作地区
分类	照片（Photographs）
尺寸	24.5 x 30.3 厘米. (9 5/8 x 11 15/16 英寸)
介绍（中）	费利克斯·泰纳德（Félix Teynard）是格勒诺布尔的土木工程师，于1851-52年前往埃及，其明确目的是更新埃及的标准建筑参考，埃及描述，这是拿破仑的学者团队在1809年至1829年间发行的超大版画的豪华出版物。泰纳德拍摄了从开罗到努比亚的遗址，显然对古代建筑师和建筑商的工程技能感到惊奇，并且对人造建筑的物理性有着不同寻常的把握 - 它们的大小和在空间中的位置，它们的材料和装饰，以及它们的保护状态。泰纳德的调查包括 160 张带有文字的盐渍纸版画，于 1853 年至 1858 年出版，名为《埃及与努比：遗址与古迹以及艺术和历史研究的内在人员》。幸存下来的整套不到十几套。当泰纳德带着大画幅相机出发前往埃及时，他在蜡纸负片技术方面已经完全完成了，这种技术仅在前一年由古斯塔夫·勒格雷在巴黎完善。使用纸质底片的缺点之一是纸纤维会软化图片的分辨率。然而，该技术的最佳实践者将其缺点转化为优势，并围绕大量深阴影和充满光线来组织他们的照片，认识到一些精心挑选的细节可以为建筑结构带来戏剧性的缓解。这张照片是该类型的杰作。它代表了位于开罗上游105英里的贝尼哈桑（约公元前1900年）的中王国岩石坟墓。在明暗的大胆构图中，泰纳德将欧洲曲木手杖的精致形式放在柱子上。就像测量员的测量一样，手杖表示比例。它也是泰纳德的个人签名，但与右边的涂鸦不同，它是临时的，没有污损纪念碑。
介绍（英）	A civil engineer based in Grenoble, Félix Teynard traveled to Egypt in 1851-52 with the express purpose of updating the standard architectural reference on Egypt, Description de l'Égypte, a lavish publication of oversized engravings issued by Napoleon's team of savants between 1809 and 1829. Teynard photographed the sites from Cairo to Nubia with evident wonder at the engineering skills of the ancient architects and builders and had an uncommon grasp of the physicality of man-made constructions-their size and placement in space, their materials and decoration, and their state of conservation. Teynard's survey, 160 salted paper prints with accompanying text, was published from 1853 to 1858 as Égypte et Nubie: Sites et monuments les plus intéressants pour l'étude de l'art et de l'histoire. Fewer than a dozen complete sets have survived. By the time Teynard set out for Egypt with a large-format camera, he was thoroughly accomplished in the waxed-paper negative technique, which had been perfected only the year before in Paris by Gustave Le Gray. One of the drawbacks of using paper negatives was that the paper fibers softened the picture's resolution. The best practitioners of the technique, however, turned its faults to advantage and organized their pictures around masses of deep shadow and suffused light, recognizing that a few well-chosen details could give dramatic relief to architectonic structures. This photograph is a masterpiece of the genre. It represents a Middle Kingdom rock-cut tomb at Beni Hasan (ca. 1900 B.C.), 105 miles upriver from Cairo. Within the bold composition of light and dark, Teynard placed the delicate form of a European bentwood cane against the column. Like a surveyor's measure, the cane indicates scale. It also functions as Teynard's personal signature, but unlike the graffiti to the right, it was temporary and did not deface the monument.