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.

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 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 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 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 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 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.

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.

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 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.

The title of Surah 61 is written in red using an archaic naskhi script without diacritics, naming it 'sūrat al-ḥawāriyyīn' instead of the usual 'sūrat aṣ-ṣaff', a variant title known to the masoretic tradition.

Folios from this same codex are dispersed across different repositories, with additional leaves held at the Topkapı Palace Museum in Istanbul.

This extensive 8th-century manuscript is well-known today through a collection of 471 photographs taken by Gotthelf Bergsträßer around 1930, preserving its contents in his archive.

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 fragment originally belonged to the same manuscript as the fragment cataloged as no. 58 by François Déroche. It is notably decorated with an intricate full-page illumination on folio 105v, featuring a gilded and interlaced geometric border. The manuscript also employs partial oblique diacritics and red vocalization dots, with verses separated by gilded Kufic letters and medallions.

The manuscript uses decorative medallions and bands to mark every ten verses, rather than separating individual verses. A marginal note in cursive script reveals it was once owned by Aḥmad Abū al-ʿAbbās al-Huwaydī, with later readers adding pious notes in the margins.

The manuscript uses decorative medallions and bands to mark every ten verses, rather than separating individual verses. A marginal note in cursive script reveals it was once owned by Aḥmad Abū al-ʿAbbās al-Huwaydī, with later readers adding pious notes in the margins.

BNF Arabe 351 is an early Quranic manuscript written in the Kufic D.III script with 5 lines per page. It belongs to the same original codex as several dispersed fragments, notably those from the Jean-Joseph Marcel collection currently held in Russia.

BNF Arabe 351 is an early Quranic manuscript written in the Kufic D.III script with 5 lines per page. It belongs to the same original codex as several dispersed fragments, notably those from the Jean-Joseph Marcel collection currently held in Russia.

This anonymous and undated parchment manuscript is written in a Kufic script close to the D.I style, utilizing oblique strokes for consonantal diacritics and red dots for vocalization. While individual verses are not separated, groups of five are marked with a golden Kufic letter hāʾ, and groups of ten are indicated by specialized circular medallions. Notably, the margin of folio 12v contains the indication for prostration (sajdah) written in gold characters.

This anonymous and undated parchment manuscript is written in a Kufic script close to the D.I style, utilizing oblique strokes for consonantal diacritics and red dots for vocalization. While individual verses are not separated, groups of five are marked with a golden Kufic letter hāʾ, and groups of ten are indicated by specialized circular medallions. Notably, the margin of folio 12v contains the indication for prostration (sajdah) written in gold characters.

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 fragment was acquired by the University of Cambridge in 1878 from Edward H. Palmer and E.E. Tyrwhitt Drake. Palmer collected this and other early Qur'an manuscripts during a notable research expedition to the Sinai Peninsula.

This manuscript features a rare, dated colophon from 292 AH (904-905 AD) by Ahmad al-Khayqani, who updated the vowelling and diacritical marks. Written in Persian, this colophon is considered one of the oldest known testimonies of the New Persian language written in the Arabic script.

This manuscript features a rare, dated colophon from 292 AH (904-905 AD) by Ahmad al-Khayqani, who updated the vowelling and diacritical marks. Written in Persian, this colophon is considered one of the oldest known testimonies of the New Persian language written in the Arabic script.

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 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 manuscript features distinctive illumination where yellow is used instead of gold, indicating a middling quality of production. It also employs an intricate color-coding system for recitation marks, with yellow dots for the hamza, blue for sukūn and tašdīd, and red for all other vocalizations.