This codex is one of the earliest surviving Quranic manuscripts, with combined radiocarbon dating of its parchment placing its production between 605 and 651 AD. The seven folios in Berlin were once part of a larger codex that is now split, with 33 additional folios currently held in the Egyptian National Library. The Berlin leaves were acquired in 1939 from the estate of Bernhard Moritz, the former director of the Khedivial Library.

This codex is one of the earliest surviving Quranic manuscripts, with combined radiocarbon dating of its parchment placing its production between 605 and 651 AD. The seven folios in Berlin were once part of a larger codex that is now split, with 33 additional folios currently held in the Egyptian National Library. The Berlin leaves were acquired in 1939 from the estate of Bernhard Moritz, the former director of the Khedivial Library.

This codex is one of the earliest surviving Quranic manuscripts, with combined radiocarbon dating of its parchment placing its production between 605 and 651 AD. The seven folios in Berlin were once part of a larger codex that is now split, with 33 additional folios currently held in the Egyptian National Library. The Berlin leaves were acquired in 1939 from the estate of Bernhard Moritz, the former director of the Khedivial Library.

This codex is one of the earliest surviving Quranic manuscripts, with combined radiocarbon dating of its parchment placing its production between 605 and 651 AD. The seven folios in Berlin were once part of a larger codex that is now split, with 33 additional folios currently held in the Egyptian National Library. The Berlin leaves were acquired in 1939 from the estate of Bernhard Moritz, the former director of the Khedivial Library.

Considered by Gotthelf Bergsträßer to be the most important representative of the ḥiǧāzī script style due to its extensive size. It features a bold hand with tall, right-leaning hastae that sets it apart from more conventional early Kufic Qurans. Two folios from this same codex are currently preserved at the Dār al-Āṯār al-Islāmiyya in Kuwait.

Considered by Gotthelf Bergsträßer to be the most important representative of the ḥiǧāzī script style due to its extensive size. It features a bold hand with tall, right-leaning hastae that sets it apart from more conventional early Kufic Qurans. Two folios from this same codex are currently preserved at the Dār al-Āṯār al-Islāmiyya in Kuwait.

This codex contains a colophon attributing it to ʿAlī ibn Abī Ṭālib and dating it to 40 AH (660 AD), though scholars believe this colophon was added later. It also features a waqf (endowment) deed written on the first page in 1775 AD.

This nearly complete early Kufic Quran was photographed by Otto Pretzl during a research trip to Morocco in 1934. While the main body belonged to the private library of Sherif ʿAbdarraḥmān b. Zīdān, fragments of this codex have since been dispersed to the Royal Library in Rabat, the Tareq Rajab Museum in Kuwait, and sold through auction houses like Christie's.

This nearly complete early Kufic Quran was photographed by Otto Pretzl during a research trip to Morocco in 1934. While the main body belonged to the private library of Sherif ʿAbdarraḥmān b. Zīdān, fragments of this codex have since been dispersed to the Royal Library in Rabat, the Tareq Rajab Museum in Kuwait, and sold through auction houses like Christie's.

Carbon dating of fragments from Arabe 324 (c) places its origin between 660-780 AD. The manuscript is part of a composite codex, where Arabe 324 (c) and Gotha Ms. orient. A 462 are original leaves, while other sections such as Arabe 324 (a) and (d) were added centuries later to replace damaged or missing pages.

Carbon dating of fragments from Arabe 324 (c) places its origin between 660-780 AD. The manuscript is part of a composite codex, where Arabe 324 (c) and Gotha Ms. orient. A 462 are original leaves, while other sections such as Arabe 324 (a) and (d) were added centuries later to replace damaged or missing pages.

This codex is known primarily through photographs in the Gotthelf Bergsträßer archive, taken in the early 1930s. Although the original manuscript is no longer identifiable in the current museum catalogue, these rare photographs survived World War II and provide a crucial record of this early text.

This almost complete codex is notable for being written by at least six different scribes in Kufic script. Originally documented in Gotthelf Bergsträßer's archives as 'Medina 1a', its folios were later repaired with paper edges, and a few missing pages were completed in Naskh script.

This almost complete codex is notable for being written by at least six different scribes in Kufic script. Originally documented in Gotthelf Bergsträßer's archives as 'Medina 1a', its folios were later repaired with paper edges, and a few missing pages were completed in Naskh script.

This manuscript was documented by Gotthelf Bergsträßer as 'Saray Medina 1b', and its photographs became part of his famous archive in Munich. Notably, it still retains a dark olive-coloured leather binding with a traditional flap (miklep) and mandorla (şemse), as well as multi-colored geometric sura headings.

This codex fragment was documented in Bernhard Moritz's 1905 'Arabic Palaeography' album and was reportedly discovered in the ancient Egyptian city of Bahnasa (Oxyrynchos). Scholars suggest it may originally belong to the same large codex as other early Quranic fragments currently held in the Vatican, Paris, and the Khalili Collections.

Carbon dating of this manuscript's parchment by the Coranica project places its origin between the late 7th and mid-8th century AD, making it an important early witness to the Qur'anic text. It was purchased by Leiden University in 1938 from the antiquarian Erik von Scherling.

This nearly complete 8th-century Quranic manuscript is notable for its extensive preservation, containing text from the very beginning of the Quran to its final Surah. Curiously, folio 134 has been reported missing from the French National Library since approximately 2000, and no microfilm image of it survives.

This manuscript is a highly prized copy traditionally ascribed to the penmanship of Ali ibn Abi Talib, the fourth Caliph. It features modern gold and colored borders on the paper margins.

This manuscript features early structural organization, including a decorative brown ink band separating the surahs and the explicit text 'Khātimat' (The conclusion of) followed by the surah title and verse count at the end of Surah Yunus. Diacritics are present in black ink, notably marking the letter 'qaf' with a dot below, though vocalization is absent.

This manuscript is notable for its early use of vocalization, featuring red dots that were partially applied by the original scribe and later supplemented with green signs. The text is further embellished with gold rosettes separating verses and elaborate marginal medallions marking groups of verses, highlighting an evolving decorative tradition in early Quranic manuscripts.

This manuscript is notable for its early use of vocalization, featuring red dots that were partially applied by the original scribe and later supplemented with green signs. The text is further embellished with gold rosettes separating verses and elaborate marginal medallions marking groups of verses, highlighting an evolving decorative tradition in early Quranic manuscripts.

This near-complete Kufic Quran is bound in brown leather over wood with arabesque interlacing and iron rings. It bears the foundation seal of Sultan Osman III, and its first three leaves as well as sura headings are illuminated.

This near-complete Kufic Quran is bound in brown leather over wood with arabesque interlacing and iron rings. It bears the foundation seal of Sultan Osman III, and its first three leaves as well as sura headings are illuminated.

This nearly complete codex is an exceptional document, as complete codices in Kūfī D script style are extremely rare. The manuscript features illuminated pages for the first three and last six folios, as well as at surah beginnings.

This manuscript features a forged colophon claiming it was copied in 798 AD by order of Caliph Harun al-Rashid. An old legend also suggested it was a diplomatic gift sent to Charlemagne, though scholars have proven both the attribution and the legend to be false.

This manuscript features a forged colophon claiming it was copied in 798 AD by order of Caliph Harun al-Rashid. An old legend also suggested it was a diplomatic gift sent to Charlemagne, though scholars have proven both the attribution and the legend to be false.

Arabe 329 (d) is a parchment manuscript featuring an early Abbasid Kufic B.II script. Its partial application of diacritical dots and colored vocalization marks offers a glimpse into the transitional phase of Arabic orthography.

Arabe 329 (d) is a parchment manuscript featuring an early Abbasid Kufic B.II script. Its partial application of diacritical dots and colored vocalization marks offers a glimpse into the transitional phase of Arabic orthography.

This early Quranic fragment is notable for its Kufic B.II script and its use of partially applied red dots for vocalization, reflecting the gradual standardization of Arabic orthography.

This manuscript features a rare waqf (endowment) note dated to Ramadan 366 AH (977 AD), revealing it was donated to the Great Mosque of Fustat in Egypt. It is notable for its early use of colored dots for vocalization and hamza.

The manuscript features titles and verse counts for its surahs written in gold ink. While individual verses are not separated, groups of five are marked with a gilded Kufic 'hāʾ', and groups of ten with specific circular devices. Vocalization is indicated using red dots.

The manuscript features titles and verse counts for its surahs written in gold ink. While individual verses are not separated, groups of five are marked with a gilded Kufic 'hāʾ', and groups of ten with specific circular devices. Vocalization is indicated using red dots.

This anonymous, undated Kufic manuscript stands out for its decorative features, including yellow Kufic 'hā' letters marking groups of five verses and vine-scroll vignettes for surah headings. It features a recent Maghrebi binding with geometric gold motifs and previously belonged to the collection of General Lyautey.

This manuscript is notable for its page proportions, where the ratio of the width of the text area to its height is very close to the golden rectangle. Additionally, the end of each group of ten verses is indicated by a plain red circle with a letter at its centre giving the number of verses according to the abjad numeral system.

The dimensions of the text area in this manuscript are carefully proportioned; if the width is divided by the height, the quotient is very close to that of the golden rectangle. Additionally, red dots are used to indicate vocalization, and every tenth verse is marked by a plain red circle containing an abjad letter to denote the verse count.

This manuscript is the third part of a seven-part Quran. It features partial vocalization and diacritical marks in red, green, and yellow ink to indicate different readings, along with surah titles written in hollow gold Kufic script.

This manuscript consists of two parchment folios with 3 to 7 lines of text per page. It is estimated to have been produced between 750 and 900 AD and is currently held at the Harvard Art Museums.

This manuscript consists of two parchment folios with 3 to 7 lines of text per page. It is estimated to have been produced between 750 and 900 AD and is currently held at the Harvard Art Museums.

This Abbasid Quran fragment was acquired by the University of Cambridge in 1878 from Edward H. Palmer and E.E. Tyrwhitt Drake, who collected it during a research trip to the Sinai Peninsula.

This early Abbasid Qur'an fragment was acquired by Cambridge University in 1878 from the orientalist and explorer Edward H. Palmer and his colleague E.E. Tyrwhitt Drake, who collected it during a research expedition to the Sinai Peninsula.

This manuscript is part of the Minassian Collection of Qur'anic Manuscripts housed at Brown University. Written on paper in the New Style I script, it consists of a single folio that originally belonged to the same codex as shelfmark 6664.

This codex is largely complete, containing the entire Quran, though the first folio and a few other leaves were supplied by a later hand. Written on parchment, the manuscript represents an important transitional stage in the evolution of the Arabic script toward the Maghrebi style. While generally well-preserved, some of the early and late folios exhibit water damage and have been repaired.

This 10th-century Quranic manuscript is notable for being written on Oriental paper rather than parchment. It features complete diacritics and vocalization, with distinctive colorful verse markers including yellow Kufic 'hāʾ' letters to signal groups of five verses.

This manuscript features tiny and minute Maghribī script, with vowels and orthographic signs written in red. It also includes verse dividers shaped as circles filled with alternating red and yellow dots, and the title of Surah 11 is distinctively written in yellow Kufic letters.

This complete Quran was produced in Baghdad by the renowned calligrapher ʿAlī b. Hilāl, also known as Ibn al-Bawwāb, around 1000-1001 AD. He is a significant figure in Islamic art, closely associated with the adoption of the round Naskh script to transcribe the Quran.

This complete Quran was produced in Baghdad by the renowned calligrapher ʿAlī b. Hilāl, also known as Ibn al-Bawwāb, around 1000-1001 AD. He is a significant figure in Islamic art, closely associated with the adoption of the round Naskh script to transcribe the Quran.

This codex is closely related to two other Andalusian manuscripts held in Istanbul, which were written in Cordoba (1143-1144 AD) and Valencia (1182-1183 AD), suggesting a similar provenance. It features distinctive Maġribī micrography for the main text and angular chrysography for the Surah headings.

This double leaf is written in the tortuous and colorful Maghribi script. The sura heading was designed in classical Kufi and written in gold, further highlighted with a leaf ornament in the margin.

This double leaf is written in the tortuous and colorful Maghribi script. The sura heading was designed in classical Kufi and written in gold, further highlighted with a leaf ornament in the margin.