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 early Quranic manuscript is part of the Marcel collection, originally acquired in Egypt by Jean-Joseph Marcel during the French expedition. It is related to fragments Marcel 11, Marcel 15, and BNF Arabe 330 (c).

This early Quranic manuscript is part of the Marcel collection, originally acquired in Egypt by Jean-Joseph Marcel during the French expedition. It is related to fragments Marcel 11, Marcel 15, and BNF Arabe 330 (c).

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.

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 manuscript is part of 'Codex Amrensis 1', a composite codex reconstructed from fragments scattered across libraries in Paris, St. Petersburg, Doha, and London. It was originally kept in the historic Mosque of 'Amr ibn al-'As in Fustat, making it an important artifact of early Islamic presence in Egypt.

This manuscript is part of 'Codex Amrensis 1', a composite codex reconstructed from fragments scattered across libraries in Paris, St. Petersburg, Doha, and London. It was originally kept in the historic Mosque of 'Amr ibn al-'As in Fustat, making it an important artifact of early Islamic presence in Egypt.

This 8th-century codex features scarce use of diacritical marks and no vocalization, reflecting its antiquity. Fragments of the original manuscript are now widely dispersed, with portions held not only in Paris but also in the Vatican Library (Vat.ar.1784), the Khalili Collections (KFQ 49), and the University of Pennsylvania Museum (E 16264 D).

This 8th-century codex features scarce use of diacritical marks and no vocalization, reflecting its antiquity. Fragments of the original manuscript are now widely dispersed, with portions held not only in Paris but also in the Vatican Library (Vat.ar.1784), the Khalili Collections (KFQ 49), and the University of Pennsylvania Museum (E 16264 D).

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 monumental manuscript is one of the oldest surviving Qurans, traditionally believed to be the personal copy of Caliph Uthman stained with his blood. After being taken by Russian imperial forces in 1868 to Saint Petersburg, it was repatriated to Tashkent in 1923.

The physical manuscript is currently lost and its origin is unknown; it survives today only through six photographs published in Bernhard Moritz's monumental 1905 album 'Arabic Palaeography'.

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.

This early parchment manuscript fragment originally hails from Damascus and was collected by the Prussian consul Johann Gottfried Wetzstein. It is notable for its Kufic C script style and red dot vocalization system.

The manuscript is written on thick, yellow parchment. According to Wilhelm Ahlwardt's 1887 catalogue, the lower half of the manuscript is heavily damaged, especially towards the side margins. The script is described as large, thick, pleasing, and uniform, with ink that has turned somewhat brownish over time.

This manuscript is notable for its early use of colored ornamentation. The surahs are separated by decorative bands composed of pearls, lozenges, and elongated hexagons painted in yellow, green, and red, often accompanied by a palmette projecting into the outer margin. Furthermore, verses are marked by distinct groups of oblique strokes.

This manuscript is notable for its early use of colored ornamentation. The surahs are separated by decorative bands composed of pearls, lozenges, and elongated hexagons painted in yellow, green, and red, often accompanied by a palmette projecting into the outer margin. Furthermore, verses are marked by distinct groups of oblique strokes.

A notable feature of this manuscript is its use of violet ink. It employs violet-colored alifs to mark groups of five verses and circles of the same color for groups of ten, and also features surah headings written in violet ink that include a unique introductory formula alongside the verse count.

A notable feature of this manuscript is its use of violet ink. It employs violet-colored alifs to mark groups of five verses and circles of the same color for groups of ten, and also features surah headings written in violet ink that include a unique introductory formula alongside the verse count.

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 codex is highly decorated for its time. It features rosettes to separate individual verses, golden letter 'hāʾ' to indicate groups of five verses, and intricately illuminated medallions that write out the names of ten-verse groupings in full. Sura titles are also indicated in gold letters within decorated bands.

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 was part of the collection of Johann Gottfried Wetzstein, the Prussian consul in Damascus, who acquired numerous early Islamic manuscripts. It features an early vocalization system using red dots and unique diacritical marks, such as three horizontal strokes for the letter Shin (ش).

The manuscript features intricate, uncolored ornamental bands at the end of surahs, added in originally blank spaces. These bands, drawn in the same ink as the verse separators, contain complex geometric and vegetal patterns, including interlaced triangles, lozenges, and elongated palmettes.

This manuscript is a notable early Abbasid period fragment executed in the Kūfī B.II script. While diacritical marks are absent, it features red dots for partial vocalization and uniquely employs golden hāʾ medallions to mark groups of five verses.

This early Islamic manuscript, originally discovered in Fustat, consists of four parchment folios written in brown ink. It is notable for having the title and verse count of Surah An-Nahl (Surah 16) inscribed in yellow ink, and while individual verses are not marked, groups of five and ten are indicated by painted yellow letters and circles.

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.

The manuscript features vocalisation indicated by red dots, alongside occasional green dots whose function remains unclear. Verse groupings are marked by golden Kufic hāʾ letters for five verses and illuminated medallions for ten verses.

This manuscript is notable for its unclassified script style, which is a rare mixture of Kūfī type E and New Style. It was originally part of a larger codex that included the folios now cataloged as HC.MS.03164 and HC.MS.03166.

This codex is reconstructed from 74 scattered leaves across multiple collections, including the Mingana Collection in Birmingham and the Minassian Collection at Brown University. Described by Alba Fedeli, it provides insight into the dispersal of early Qur'anic manuscripts in modern antiquarian markets.

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 fragment of an Abbasid-era Quran is notable for its 'New Style I' script, representing a stylized evolutionary phase in early Arabic calligraphy. The manuscript preserves an elegant and compact layout of 7 lines per page on parchment.

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.