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.

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 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 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 document is uniquely significant as it represents the only known codex of the Quran written on papyrus. It was discovered by Naïm Vanthieghem in 2011 and edited by Mathieu Tillier and Naïm Vanthieghem in 2024.

This document is uniquely significant as it represents the only known codex of the Quran written on papyrus. It was discovered by Naïm Vanthieghem in 2011 and edited by Mathieu Tillier and Naïm Vanthieghem in 2024.

This document is uniquely significant as it represents the only known codex of the Quran written on papyrus. It was discovered by Naïm Vanthieghem in 2011 and edited by Mathieu Tillier and Naïm Vanthieghem in 2024.

This document is uniquely significant as it represents the only known codex of the Quran written on papyrus. It was discovered by Naïm Vanthieghem in 2011 and edited by Mathieu Tillier and Naïm Vanthieghem in 2024.

This document is uniquely significant as it represents the only known codex of the Quran written on papyrus. It was discovered by Naïm Vanthieghem in 2011 and edited by Mathieu Tillier and Naïm Vanthieghem in 2024.

This document is uniquely significant as it represents the only known codex of the Quran written on papyrus. It was discovered by Naïm Vanthieghem in 2011 and edited by Mathieu Tillier and Naïm Vanthieghem in 2024.

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.

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.

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.

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 features almost complete diacritical marks using oblique strokes, red dots for vocalization, and green dots for hamza. Each surah is introduced by an ornamental band containing its title and verse count in gold lettering, and verse groups are marked with gold hāʾ symbols and letter-numeral medallions.

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 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.

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 manuscript was previously owned by Kaikobad I, Sultan of the Sultanate of Rum (1219-1237). According to scholars, other folios of the same codex are held in the Library of Topkapı Sarayı in Istanbul.

The manuscript was previously owned by Kaikobad I, Sultan of the Sultanate of Rum (1219-1237). According to scholars, other folios of the same codex are held in the Library of Topkapı Sarayı in Istanbul.

The manuscript was previously owned by Kaikobad I, Sultan of the Sultanate of Rum (1219-1237). According to scholars, other folios of the same codex are held in the Library of Topkapı Sarayı in Istanbul.

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 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 suffered significant water damage in the past and underwent a careful historical restoration. Its original margins were cut away and replaced with new paper borders, which were then elegantly decorated with broad gold lines and fine blue lines.

This manuscript features an elaborate early vocalization system that uses colored dots to indicate vowels, with gold for fatḥa, green for kasra, and red for ḍamma. It also contains decorative rosettes separating verses and teardrop-shaped ornaments marking groups of five verses, showcasing the development of Quranic illumination.

This manuscript features an elaborate early vocalization system that uses colored dots to indicate vowels, with gold for fatḥa, green for kasra, and red for ḍamma. It also contains decorative rosettes separating verses and teardrop-shaped ornaments marking groups of five verses, showcasing the development of Quranic illumination.

This manuscript features an elaborate early vocalization system that uses colored dots to indicate vowels, with gold for fatḥa, green for kasra, and red for ḍamma. It also contains decorative rosettes separating verses and teardrop-shaped ornaments marking groups of five verses, showcasing the development of Quranic illumination.

This manuscript features an elaborate early vocalization system that uses colored dots to indicate vowels, with gold for fatḥa, green for kasra, and red for ḍamma. It also contains decorative rosettes separating verses and teardrop-shaped ornaments marking groups of five verses, showcasing the development of Quranic illumination.

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 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 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 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 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 was extensively photographed as part of the Gotthelf Bergsträßer Archive before World War II. The original first folio was lost and replaced with a paper leaf in thuluth script, while the original ancient parchment continues from the fourth word of Q 2:5.

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.

This manuscript is an anonymous and undated copy where scholars distinguish the work of two different hands based on differences in the height of the writing surfaces. Its vocalization is ornately marked with gold dots centered in red, green dots for the hamza, and some alifs of prolongation added later in red ink.

This manuscript is an anonymous and undated copy where scholars distinguish the work of two different hands based on differences in the height of the writing surfaces. Its vocalization is ornately marked with gold dots centered in red, green dots for the hamza, and some alifs of prolongation added later in red ink.

This manuscript is an anonymous and undated copy where scholars distinguish the work of two different hands based on differences in the height of the writing surfaces. Its vocalization is ornately marked with gold dots centered in red, green dots for the hamza, and some alifs of prolongation added later in red ink.

This manuscript is an anonymous and undated copy where scholars distinguish the work of two different hands based on differences in the height of the writing surfaces. Its vocalization is ornately marked with gold dots centered in red, green dots for the hamza, and some alifs of prolongation added later in red ink.

This manuscript is an anonymous and undated copy where scholars distinguish the work of two different hands based on differences in the height of the writing surfaces. Its vocalization is ornately marked with gold dots centered in red, green dots for the hamza, and some alifs of prolongation added later in red ink.

This manuscript is an anonymous and undated copy where scholars distinguish the work of two different hands based on differences in the height of the writing surfaces. Its vocalization is ornately marked with gold dots centered in red, green dots for the hamza, and some alifs of prolongation added later in red ink.

This manuscript is an anonymous and undated copy where scholars distinguish the work of two different hands based on differences in the height of the writing surfaces. Its vocalization is ornately marked with gold dots centered in red, green dots for the hamza, and some alifs of prolongation added later in red ink.

This manuscript is an anonymous and undated copy where scholars distinguish the work of two different hands based on differences in the height of the writing surfaces. Its vocalization is ornately marked with gold dots centered in red, green dots for the hamza, and some alifs of prolongation added later in red ink.

This manuscript is an anonymous and undated copy where scholars distinguish the work of two different hands based on differences in the height of the writing surfaces. Its vocalization is ornately marked with gold dots centered in red, green dots for the hamza, and some alifs of prolongation added later in red ink.

This manuscript is an anonymous and undated copy where scholars distinguish the work of two different hands based on differences in the height of the writing surfaces. Its vocalization is ornately marked with gold dots centered in red, green dots for the hamza, and some alifs of prolongation added later in red ink.

This manuscript features elaborate decoration, with verses separated by triangular clusters of three gold dots. Its vocalization system includes red and blue dots, while green strokes were later added for diacritics, shadda, and sukun.

This manuscript features elaborate decoration, with verses separated by triangular clusters of three gold dots. Its vocalization system includes red and blue dots, while green strokes were later added for diacritics, shadda, and sukun.

This manuscript features elaborate decoration, with verses separated by triangular clusters of three gold dots. Its vocalization system includes red and blue dots, while green strokes were later added for diacritics, shadda, and sukun.

This manuscript features elaborate decoration, with verses separated by triangular clusters of three gold dots. Its vocalization system includes red and blue dots, while green strokes were later added for diacritics, shadda, and sukun.

This manuscript features elaborate decoration, with verses separated by triangular clusters of three gold dots. Its vocalization system includes red and blue dots, while green strokes were later added for diacritics, shadda, and sukun.

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.

This early Abbasid-era manuscript is notable for its sparse use of diacritics and its decorative elements, including golden Kufic hāʾ letters and medallions to mark every five and ten verses, as well as golden ink for Surah titles and verse counts.

This early Abbasid-era manuscript is notable for its sparse use of diacritics and its decorative elements, including golden Kufic hāʾ letters and medallions to mark every five and ten verses, as well as golden ink for Surah titles and verse counts.

This early Abbasid-era manuscript is notable for its sparse use of diacritics and its decorative elements, including golden Kufic hāʾ letters and medallions to mark every five and ten verses, as well as golden ink for Surah titles and verse counts.

This early Abbasid-era manuscript is notable for its sparse use of diacritics and its decorative elements, including golden Kufic hāʾ letters and medallions to mark every five and ten verses, as well as golden ink for Surah titles and verse counts.

This folio is notable for its medium, utilizing ink, gold, and color on paper, which reflects the growing adoption of paper for Quranic manuscripts in the Near East. The fragment specifically preserves verses from Surat al-Baqarah describing the disbelievers.

This manuscript leaf, held at the Los Angeles County Museum of Art, features the distinct, angular Kūfī D script typical of early Abbasid Qur'an production in the 9th century.

This Abbasid-era manuscript features verses inscribed in a gilded frame, with several folios decorated with rectangular gilded panels. It was acquired by Edward H. Palmer during an 1878 research trip to the Sinai Peninsula.

This Abbasid-era manuscript features verses inscribed in a gilded frame, with several folios decorated with rectangular gilded panels. It was acquired by Edward H. Palmer during an 1878 research trip to the Sinai Peninsula.

This Abbasid-era manuscript features verses inscribed in a gilded frame, with several folios decorated with rectangular gilded panels. It was acquired by Edward H. Palmer during an 1878 research trip to the Sinai Peninsula.

This Abbasid-era manuscript features verses inscribed in a gilded frame, with several folios decorated with rectangular gilded panels. It was acquired by Edward H. Palmer during an 1878 research trip 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 manuscript is notable for its rich ornamentation, featuring green dots for the hamza and red dots for vocalization. Verses are separated by rosettes, while golden Kufic 'hāʾ' letters mark groups of five verses, and Sura 44 features a golden title accompanied by an intricate vine-scroll vignette.

This manuscript is notable for its rich ornamentation, featuring green dots for the hamza and red dots for vocalization. Verses are separated by rosettes, while golden Kufic 'hāʾ' letters mark groups of five verses, and Sura 44 features a golden title accompanied by an intricate vine-scroll vignette.

This manuscript is notable for its rich ornamentation, featuring green dots for the hamza and red dots for vocalization. Verses are separated by rosettes, while golden Kufic 'hāʾ' letters mark groups of five verses, and Sura 44 features a golden title accompanied by an intricate vine-scroll vignette.

This paper manuscript is notable for its large but uneven script with sharp strokes in strong black ink. It features multi-colored vocalization and reading marks, including red dots for vowels and nunation, and blue marks for Tashdid and Madda, with verses separated by large yellow dots and larger verse groups indicated by floral marginal medallions.

This paper manuscript is notable for its large but uneven script with sharp strokes in strong black ink. It features multi-colored vocalization and reading marks, including red dots for vowels and nunation, and blue marks for Tashdid and Madda, with verses separated by large yellow dots and larger verse groups indicated by floral marginal medallions.

This paper manuscript is notable for its large but uneven script with sharp strokes in strong black ink. It features multi-colored vocalization and reading marks, including red dots for vowels and nunation, and blue marks for Tashdid and Madda, with verses separated by large yellow dots and larger verse groups indicated by floral marginal medallions.

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.