This manuscript is believed to originate from the same codex as the famous Birmingham Quran manuscript (Mingana 1572a), which was radiocarbon dated to between 568 and 645 AD. This makes it part of one of the oldest surviving Quranic manuscripts in the world and an early descendant of the Uthmanic codex.

This manuscript is believed to originate from the same codex as the famous Birmingham Quran manuscript (Mingana 1572a), which was radiocarbon dated to between 568 and 645 AD. This makes it part of one of the oldest surviving Quranic manuscripts in the world and an early descendant of the Uthmanic codex.

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.

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.

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 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 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 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 codex is written on parchment in the D.I style of early Kufic script. A unique feature of this manuscript is that the initial 'ayn (ع) letters have been systematically traced over by a later hand, and golden hāʾ symbols are used to indicate groups of five verses.

This manuscript features sophisticated illumination for its time, including large yellow dots circled in black to separate individual verses, golden letters (hāʾ) indicating groups of five verses, and detailed medallions spelling out the tens in full words.

This manuscript features sophisticated illumination for its time, including large yellow dots circled in black to separate individual verses, golden letters (hāʾ) indicating groups of five verses, and detailed medallions spelling out the tens in full words.

This manuscript features sophisticated illumination for its time, including large yellow dots circled in black to separate individual verses, golden letters (hāʾ) indicating groups of five verses, and detailed medallions spelling out the tens in full words.

This single mutilated parchment folio is notable for its early use of colored dots for vocalization, employing red points for vowels and green points for hamza, despite lacking consonantal diacritics. It also features elaborate marginal medallions that explicitly write out the names of tens to demarcate groups of ten verses.

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 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 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 fragment belongs to François Déroche's Kufic D.IV classification. It features a highly developed ornamental system for verse division, using groups of oblique strokes for single verses, gilded 'hāʾ' markers for groups of five, and intricate golden medallions containing letter-numerals for every ten verses.

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 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 10-folio parchment fragment is written in Kufic D.IV script with dark brown ink. It features almost complete diacritical pointing and partial red dot vocalization. Golden 'hāʾ' letters mark groups of five verses, while illuminated medallions containing golden alphanumeric letters indicate groups of ten.

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 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 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 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 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 early manuscript lacks diacritical marks, though vowels are indicated with numerous red dots. Furthermore, the long 'a' is frequently unexpressed, and verses are divided into larger groups by prominent red circles rather than individually.

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 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 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.

The text is written in brown to dark brown ink with a few added diacritical marks and red dots for vocalization. Green dots appear to be corrections, and a gold Kufic 'hāʾ' is used to mark the end of groups of five verses.

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.