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.

This 9-folio parchment fragment is an important early witness to the Quranic text, exhibiting a transitional script that blends elements of Hijazi IV and early Kufic B.Ia styles. It completely lacks vocalization and uses simple dashes for diacritics, which supports its early production date.

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.

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.

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'.

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.

The manuscript features a large, even Kufic script with brownish ink that is notably blurred on some folios. Early cataloger Wilhelm Ahlwardt noted its use of green dots to indicate the hamza and red dots for vowels.

This manuscript features unique historical touches including faded notes from multiple hands, penciled-in Surah headings, and a small geometric drawing accompanied by blessings. Its original red-brown leather covers, decorated with a blind-tooled pattern of crossing hatched bands, were preserved by being bound directly into its newer binding. Additionally, the text displays colorful editorial marks, with missing letters like Alifs later added in red and green ink.

This manuscript features the distinct Kūfī D.I script as classified by François Déroche. It notably uses golden medallions and bands to mark chapter headings and verse groups, reflecting the growing formalization of Quranic illumination during the early Islamic period.

This manuscript features the distinct Kūfī D.I script as classified by François Déroche. It notably uses golden medallions and bands to mark chapter headings and verse groups, reflecting the growing formalization of Quranic illumination during the early Islamic period.

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 rare papyrus fragment was not part of a standard codex, as it is written on only one side. Scholars suggest it may have been produced for personal piety rather than as an amulet, due to its elegant and deliberately archaizing script. Uniquely, the blank verso of the papyrus was later reused in the 9th century to record an account.

This 8th-9th century manuscript features an archaic, perfectly vertical Kūfī script. Diacritics are expressed as very short dashes, vowels as red dots, and verses are separated by three dots in a triangle, with special circular markers after verses 40 and 60.

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 the 'New Style III' script with large, filled-in letter heads, and fine strokes that resemble later Maghrebi styles. While consonantal diacritics are entirely absent, it is heavily vocalized using red dots.

This manuscript, comprising 213 parchment folios, contains the entire second half of the Quran starting from Surah Maryam (19). It was documented by Wilhelm Ahlwardt in his 1887 catalogue of Arabic manuscripts at the Staatsbibliothek zu Berlin and is notable for its robust Early Kufic script (D.Vb) with characteristic letterforms, such as the initial and medial 'kāf' often resembling 'dāl'.

This manuscript was part of the first palaeographical study of Arabic script in the West, written by Jakob Georg Christian Adler in 1780. Acquired by Friedrich Buchwald in the 17th century, the fragment features a carpet-like tooled design binding with gilded frames and Danish state emblems on the spine.

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 features rare oval diacritics and red dots for vocalization. Golden Kufic letters (hāʾ) are used to mark groups of five verses, while ten-verse groups are marked with decorative medallions. Notably, the beginning of Surah 19 includes the surah's title and verse count inscribed in golden ink.

The manuscript features rare oval diacritics and red dots for vocalization. Golden Kufic letters (hāʾ) are used to mark groups of five verses, while ten-verse groups are marked with decorative medallions. Notably, the beginning of Surah 19 includes the surah's title and verse count inscribed in golden ink.

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.

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.

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 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 fragment of an Abbasid Qur'ān is written on parchment and features 5 lines per page. It is a valuable example of the 'New Style I' script from the 10th to 11th century.

This fragment of an Abbasid Qur'ān is written on parchment and features 5 lines per page. It is a valuable example of the 'New Style I' script from the 10th to 11th century.

This manuscript is a fragment of an Abbasid Qur'ān written on 36 parchment folios.

Part of the Minassian Collection at Brown University, this leaf is written in New Style I script on paper, demonstrating the transition to paper as a writing material for Qurans in the Islamic world.

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.