Béni Haçan，地下室建筑，阿莫尼墓 - 美国大都会艺术博物馆展品查阅

品名（中）	Béni Haçan，地下室建筑，阿莫尼墓
品名（英）	Béni Haçan, Architecture Hypogéenne, Tombeau d'Amoneï
入馆年号	1999年，2005.100.61
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	图像: 24.4 x 30.6 厘米 (9 5/8 x 12 1/16 英寸) Mount: 40.4 x 52.2 厘米 (15 7/8 x 20 9/16 英寸)
介绍（中）	当泰纳德带着大幅面相机出发前往埃及时，他已经在蜡纸负片技术上取得了彻底的成就，直到前一年古斯塔夫·勒格雷（Gustave Le Gray）在巴黎完成了这项技术。使用纸质负片的缺点之一是纸张纤维软化了图片的分辨率。然而，这项技术的最佳实践者将其缺点转化为优势，并围绕大量的深阴影和泛光组织他们的照片，认识到一些精心选择的细节可以给建筑结构带来戏剧性的缓解。这张照片是这一类型的杰作。它代表了一座位于贝尼哈桑（Beni Hasan，约公元前1900年）的中王国时期岩石切割墓，距离开罗上游105英里在明亮和黑暗的大胆构图中，泰纳德将一根精致的欧洲弯曲木手杖放在柱子上。与测量员的测量一样，手杖表示刻度。它也可以作为泰纳德的个人签名，但与右边的涂鸦不同，它是临时的，不会损坏纪念碑。
介绍（英）	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.