Pearl Whare Translation Studio is led by Mr. Yang Fan, a renowned Chinese-language writer in New Zealand and a seasoned art & cultural translator. With over a decade of experience at the Auckland Art Gallery, he has translated a vast amount of exhibition materials, and was instrumental in establishing and curating the gallery’s highly acclaimed Chinese-language guided tour service.
Mr. Yang Fan’s personal accolades include:
June 2021: Handled all text translations for the Auckland Art Gallery’s major virtual exhibition during the pandemic, Enchanted Worlds: Hokusai, Hiroshige and the Art of Edo Japan.
March 2023: Won first prize in the 4th Feng Yunké Literary Award (Keké Literary Award) from the New Zealand Chinese Writers’ Association for his collection of essays on Chinese history and culture: Qiang Zheng Zui Yan Kan Chun Shan.
April 2023: Elected to the 6th Board of Directors of the New Zealand Chinese Writers’ Association.
October 2023: Oversaw the translation of all text for Auckland Art Gallery’s summer exhibition Guo Pei: Fashion. Art, Fantasy.
November 2023: Became Accredited Practitioner of New Zealand Society of Translators and Interpreters (NZSTI).
January 2024: Interviewed by Radio New Zealand’s Culture 101 program to discuss the philosophy of cultural translation.
October 2024: Invited to the University of Auckland’s School of Literature to deliver lecture on Art and Cultural Translation.
December 2024: Translation for Auckland Art Gallery’s summer exhibition, Ólafur Eliasson: Your Curious Journey.
May 2025: Elected to the 7th Board of Directors of the New Zealand Chinese Writers’ Association.
November 2025: Translation for Auckland Art Gallery’s summer exhibition Pop to Present: American Art from the Virginia Museum of Fine Arts.
May 2026: Translation for Auckland Art Gallery’s winter exhibition, Forever Tomorrow: Chinese Art Now — the most ambitious exhibition of contemporary Chinese art ever held in the Southern Hemisphere.
May 2026: Translated book Forever Tomorrow: Chinese Art Now was published by Auckland Art Gallery.
珠玑堂翻译工作室由新西兰知名华文作家、资深文化翻译杨帆先生为主任翻译官——他拥有丰富的经验，在奥克兰美术馆供职的十余年间，笔译过数量庞大的艺术材料以及展品介绍，更奠基及策划了奥克兰美术馆有口皆碑的中文导览服务。其翻译作品曾被新西兰《Metro》杂志，奥克兰美术馆官方网站及中文先驱报收录。曾承接系列展览的独立翻译工作。
杨帆先生所获得的个人荣誉包括：
2021年6月：操刀奥克兰美术馆疫情期间的虚拟大展《玄幻之世：北斋、广重和日本江户艺术》线上展览全部文字翻译。
2023年3月：凭借中国文史杂文集《强睁醉眼看春山》一书荣获新西兰华文作家协会第四届冯蕴珂文学奖（珂珂文学奖）一等奖。
2023年4月：当选为新西兰华文作家协会第六届理事会理事。
2023年10月：主持奥克兰美术馆夏季大展《郭培：时装之幻梦》展览介绍极媒体宣传全部文字翻译。
2023年11月：成为新西兰翻译家协会（NZSTI）的认证会员。
2024年1月：接受新西兰国家广播电台（Radios New Zealand）《文化101》（《Culture 101》）节目的英文专访，探讨文化翻译之哲学。
2024年10月：受邀至奥克兰大学文学，以《艺术与文化翻译》为主题，进行演讲。
2024年12月：执笔奥克兰美术馆夏季大展《奥拉维尔 – 埃利亚松：你的好奇之旅》中文图鉴。
2025年5月：当选为新西兰华文作家协会第七届理事会理事。
2025年11月：执笔奥克兰美术馆夏季大展《从波普到当下：由弗吉尼亚美术馆馆藏的美国艺术》中文图鉴。
2026年5月：主持奥克兰美术馆冬季大展、南半球有史以来最为隆重的中国当代艺术展《永远的明天：中国艺术进行时》的展览文字翻译。
2026年5月：译著《永远的明天：中国艺术进行时》由奥克兰美术馆出版发行。
·笔译服务
学术论文
个人履历和求职信
PPT和其他演讲材料
书籍和其他出版物
手册、海报以及简报
产品介绍
展览-展品介绍以及标识
语音导览以及虚拟导览
视频、游戏、剧集和电影翻译以及本土化
网页、软件以及其他媒介本土化
行业审校以及母语润色
We provide premium quality two way translation services between English and Chinese on：
Academic Essays
CV and cover letters
PowerPoint and presentations
Books and Publications
Pamphlets, posters and flyers
Product labels
Exhibitions wall labels
Audio tours and virtual tours
Captions and localisations for videos, games and films
Websites, software and other media
Proofreading and polishing for raw translations
·口译服务
展会口译
文化活动及庆典
导览
商务会议
We provide premium quality two way interpretation services between English and Chinese for:
Conferences
Cultural events and celebrations
Guided tours
Business meetings
葛饰北斋艺术展翻译
Tabaimo (born 1975) Japan
The Obscuring Moon 2016
single-channel video installation with audio and custom pedestal 10:36 min
courtesy of James Cohan, New York and Gallery Koyanagi, Japan
Latticed partitions from Utagawa Hiroshige’s Moon-viewing Point, 1857 ominously slide open and shut, releasing mysterious beasts into the moonlit environment. The Obscuring Moon, 2016 was inspired by the Japanese collections at the Seattle Art Museum. Utilising the ancient concept of utsushi (paying homage to past masters through emulation) Tabaimo transposes Hiroshige’s Moon-viewing Point into an animated video format. Thought to depict one of the many brothels or inns in the settlement of Shinagawa, Hiroshige’s print is unsettling in what it leaves absent or unsaid.
束芋 （1975年生）日本 隐月 2016 多媒体，人造舞台，片长10分36秒 纽约 James Cohan画廊及日本小柳画廊共同拥有 葛饰北斋观月处（1857）画作中描绘的格子纸门时开时合，将神秘的异兽引入了月光荧荧的世界。隐月 2016 从美国西雅图美术馆的日本藏品中得到灵感，加入了对日本“笔意”传统的致敬（“笔意”即用新的方式模拟往昔大家的意境），束芋用动画的方式将北斋的名作演绎了出来。在描绘某间位于江户品川的风月场或客栈的表象之下，隐藏着对于留白与未知的不安感。
An empty straw mat (tatami) dominates the centre of the composition, while the room’s occupants, a geisha on the right and a courtesan on the left, are half-hidden from view. The Obscuring Moon re-imagines and expands upon the mysterious ambiguity suggested in the etched lines of the woodblock print and hint at a darker, more sinister narrative. 位于占据画面中央的榻榻米左右两侧的风月女子和艺妓，犹抱琵琶半遮面，让人不见全貌。这幅由木刻版画衍生而来的作品在原作的神秘与隐晦之上，更添加了暗黑和妖异的氛围。
teamLab (formed 2001)
Four Seasons, a 1000 Years, Terraced Rice Fields – Tashibunosho 2016
six-channel digital video
courtesy teamLab and Martin Browne
Workers sow rice crops, people celebrate the harvest, a crane soars through the sky, and day turns to night. Focusing on Kyushu Island’s famed rice fields of Tashibunosho – unchanged for over 1200 years – this digital artwork explores the links between people and nature, seasonal change and the passing of time. teamLab (2001年组建） 四季、千年、梯田 – 田染庄 2016 六屏幕多媒体 teamLab和Martin Browne 藏品
农民正在撒种，群众正在欢庆丰收，晴空一鹤排云而上，转眼日光幻化为夜色。这件作品描绘了日本九州著名的梯田——田染庄1200年间未变之风情，将人与自然的和谐，季节的转换，以及时光的流逝娓娓道来。
Synchronised with real-life seasons, weather and time in Tashibunosho, the artwork immerses you within its landscape, connecting you to distant geographic environments through a shared moment in time. In constant evolution, each moment in this artwork is unique and rendered in shifting abstract colours and shapes, so that the layered history of Tashibunosho unfolds for you in an ever-changing present. 和现实中田染庄的季节、天气、时间相呼应，这幅作品将观者带入了山水之中，让万里之外的人也能够天涯共此时。作品中的色调与风情时时变换，让人在多变的现实体验中拨开田染庄的层层历史。
teamLab (formed 2001)
Four Seasons, a 1000 Years, Terraced Rice Fields – Tashibunosho 2016
six-channel digital video
courtesy teamLab and Martin Browne
Workers sow rice crops, people celebrate the harvest, a crane soars through the sky, and day turns to night. Focusing on Kyushu Island’s famed rice fields of Tashibunosho – unchanged for over 1200 years – this digital artwork explores the links between people and nature, seasonal change and the passing of time. teamLab (2001年组建） 四季、千年、梯田 – 田染庄 2016 六屏幕多媒体 teamLab和Martin Browne 藏品
农民正在撒种，群众正在欢庆丰收，晴空一鹤排云而上，转眼日光幻化为夜色。这件作品描绘了日本九州著名的梯田——田染庄1200年间未变之风情，将人与自然的和谐，季节的转换，以及时光的流逝娓娓道来。
Synchronised with real-life seasons, weather and time in Tashibunosho, the artwork immerses you within its landscape, connecting you to distant geographic environments through a shared moment in time. In constant evolution, each moment in this artwork is unique and rendered in shifting abstract colours and shapes, so that the layered history of Tashibunosho unfolds for you in an ever-changing present. 和现实中田染庄的季节、天气、时间相呼应，这幅作品将观者带入了山水之中，让万里之外的人也能够天涯共此时。作品中的色调与风情时时变换，让人在多变的现实体验中拨开田染庄的层层历史。
The Obscuring Moon 2016
single-channel video installation with audio and custom pedestal 10:36 min
courtesy of James Cohan, New York and Gallery Koyanagi, Japan
Latticed partitions from Utagawa Hiroshige’s Moon-viewing Point, 1857 ominously slide open and shut, releasing mysterious beasts into the moonlit environment. The Obscuring Moon, 2016 was inspired by the Japanese collections at the Seattle Art Museum. Utilising the ancient concept of utsushi (paying homage to past masters through emulation) Tabaimo transposes Hiroshige’s Moon-viewing Point into an animated video format. Thought to depict one of the many brothels or inns in the settlement of Shinagawa, Hiroshige’s print is unsettling in what it leaves absent or unsaid.
束芋 （1975年生）日本 隐月 2016 多媒体，人造舞台，片长10分36秒 纽约 James Cohan画廊及日本小柳画廊共同拥有 葛饰北斋观月处（1857）画作中描绘的格子纸门时开时合，将神秘的异兽引入了月光荧荧的世界。隐月 2016 从美国西雅图美术馆的日本藏品中得到灵感，加入了对日本“笔意”传统的致敬（“笔意”即用新的方式模拟往昔大家的意境），束芋用动画的方式将北斋的名作演绎了出来。在描绘某间位于江户品川的风月场或客栈的表象之下，隐藏着对于留白与未知的不安感。
An empty straw mat (tatami) dominates the centre of the composition, while the room’s occupants, a geisha on the right and a courtesan on the left, are half-hidden from view. The Obscuring Moon re-imagines and expands upon the mysterious ambiguity suggested in the etched lines of the woodblock print and hint at a darker, more sinister narrative. 位于占据画面中央的榻榻米左右两侧的风月女子和艺妓，犹抱琵琶半遮面，让人不见全貌。这幅由木刻版画衍生而来的作品在原作的神秘与隐晦之上，更添加了暗黑和妖异的氛围。
杨福东艺术展翻译
·玛克威出版社Mykiwi Publishing House
·新西兰华文书店New Zealand Books Shop
·快捷留学移民公司Pioneer Education and Immigration Services Group
电话Mobile：0064 21 0234 7305
邮箱Email：inquiry@pearlwhare.com
地址Address：4 Barkes Place, Mt. Roskill, Auckland, New Zealand
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