As the cultural heritage of China is gaining international attention, Chinese government and experts also realize the necessity of reflecting on the question of, whether standards and charters for international Heritage Architectural Conservation are applicable in restoring the unique traditional architecture of China. One long standing question is the application of the notion of“authenticity”. This article not only traces the original intention of “authenticity” in European philosophy, and explains the requirements and theoretical basis in several important documents of international heritage protection on one hand, but also il ustrates restoration concepts in China, from “Restore Old as Old”by the Liang Si Cheng, to “Preserve Original Status” in the National Law of Conservation, as interpreted by recent Chinese scholars. Particular discussion wil be focused on the restoration of the most controversial element in Chinese architecture:Coloured painting on timber structure. Final y the author shares the personal experience of restoring coloured paintings in traditional vernacular architecture in three case studies.%近年我国的文化遗产日益受到国际重视，政府与专家也在思考国际文物建筑保护的准则与宪章是否适用于修复我国独特的传统建筑的问题，而长期带来困惑的是“真实性”理念的应用。追寻欧洲哲学里“真实性”的原意，解释国际保护文物的几份重要文件里的要求和理论基础，简述从中国近代学者对梁思成的“整旧如旧”观点至《保护法》里“保持原状”要求的演绎，对业界最具争议的传统木构彩画的修复作出讨论，最后分享笔者亲历的三项修复传统民间建筑彩色图像的经验。
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