Mr. Maisey's advice is excellent!
I have professionally restored blades (and other antique metalwork) for about thirty years. I had the opportunity to participate in a workshop taught by a Western metal smith and his Japanese trained wife whose names I forget just now, both acknowledged masters in their craft. My experience has been with mostly American and European blades, but with some Asian work as well.
I have done a little inlay from scratch as well as restored "around" it and over it depending on the type, or not at all.
Fire gilt decoration on blades is completely fugitive, so the smart thing is to stay away unless the problem endangers the blade to the point where a percentage of sacrificed gilding is a necessary cost in order to preserve the life of the whole.
Likewise with koftghari--too delicate to risk.
I have never run across any gold adhered by an organic adhesive, unless it's on a modern blade, something I usually do not fool with.
A restorer's dream is a blade mounted with undercut secured inlay, I believe the Japanese terms are sen zogan for line inlay, hira zogan for two dimensional inlay. I have rarely seen these last two come loose, but if the inlay is flush with the surface and pure gold (not low karat alloy) it can be carefully tapped into place, spreading the gold into any voids, locking it mechanically and securely. But, I emphasize pure gold only, and very light tapping using the end grain of a hardwood dowel specially shaped for the purpose.
If you have any doubt about your abilities, or any other reservations, leave it alone.
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