The development of the Asian art market and its fundamental relationship with the European (and American) markets may foster improvements in preventing illicit trade of cultural goods and help establish the scope of international regulations. In time, it may be confronted with more and more regulations and bodies. Looted art databases (including only patched information) and published auction catalogues, offer a partial ground for exploration. On the other hand, adding more layers to enforcement might not be as sufficient as improving the execution of existing laws by investing in more resources. The manifold issue of Asian art on the European market gives grounds for further exploration. A deep revision of regulations governing the market and the strive for uniformity is not the only aspect present in the literature, however the lack of common practices proves to be the main embers in the context of cross-boundary trade (especially in reference to the secrecy jurisdictions). In the case of relatively new markets, such as the Polish art market, the shortage of art experts in Asian art appraisal and valuation is an additional limit causing concerns in the provenance research related to that kind of goods. In fact, it drives owners to search for reliable opinion abroad and, therefore, expose their collections of dubious nature to export control, which, in the end, might cause the owner to conceal an unverified object. Despite specific guidance on taxation in relation to importing antiques, the very question of identification and classification of a given object poses difficulties without a verified source of information. It is, therefore, prerequisite to develop studies as well as establish a network of certified experts in this subject matter.

The development of the Asian art market and its fundamental relationship with the European (and American) markets may foster improvements in preventing illicit trade of cultural goods and help establish the scope of international regulations. In time, it may be confronted with more and more regulations and bodies. Looted art databases (including only patched information) and published auction catalogues, offer a partial ground for exploration. On the other hand, adding more layers to enforcement might not be as sufficient as improving the execution of existing laws by investing in more resources. The manifold issue of Asian art on the European market gives grounds for further exploration. A deep revision of regulations governing the market and the strive for uniformity is not the only aspect present in the literature, however the lack of common practices proves to be the main embers in the context of cross-boundary trade (especially in reference to the secrecy jurisdictions). In the case of relatively new markets, such as the Polish art market, the shortage of art experts in Asian art appraisal and valuation is an additional limit causing concerns in the provenance research related to that kind of goods. In fact, it drives owners to search for reliable opinion abroad and, therefore, expose their collections of dubious nature to export control, which, in the end, might cause the owner to conceal an unverified object. Despite specific guidance on taxation in relation to importing antiques, the very question of identification and classification of a given object poses difficulties without a verified source of information. It is, therefore, prerequisite to develop studies as well as establish a network of certified experts in this subject matter.