A recent survey of the Islamic manuscript art of Southeast Asia established that the most distinctive styles of illumination were associated with certain specific regions of the archipelago, for example Aceh on the northern tip of Sumatra, or the East Coast of the Malay Peninsula, encompassing the states of Terengganu, Kelantan, and Patani. A third artistic school appeared to be linked with south Sulawesi, but what set this school apart from, say, the Acehnese style, is not only the small number of examples known and the artistic variation between them, but also the extraordinarily far-flung provenances or locations of the known manuscripts, ranging from Sumatra and the Malay peninsula to Java, Brunei, Mindanao, Bima and Ternate as well as Sulawesi. All these factors led to the hypothesis that this might be a diasporic artistic school rather than one necessarily located in Sulawesi itself, a reasonable suggestion in view of the substantial and influential communities which migrated outwards from South Sulawesi in the late seventeenth and eighteenth centuries.