The production history of this manuscript is unclear, and its script style is not attested in authentic ancient Qur'ānic manuscripts. Scholars suspect it could be a modern copy, and its dating requires physical analysis of the parchment and ink.

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 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.

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 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 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.

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 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 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 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 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 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 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 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 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 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 Abbasid-era manuscript is written on parchment in the Kufic B.II script style and originates from Fustat. It features later additions of red vocalization dots and rubricated circles to mark groups of ten verses, with surah titles and verse counts added in red ink to match the main text's script.

This Abbasid-era manuscript is written on parchment in the Kufic B.II script style and originates from Fustat. It features later additions of red vocalization dots and rubricated circles to mark groups of ten verses, with surah titles and verse counts added in red ink to match the main text's script.

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.

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 manuscript is part of a large cache of early Qurans originally discovered in the Mosque of 'Amr ibn al-'As in Fustat (Old Cairo). Written on parchment, the text lacks diacritical dots but features early red dot vocalization marks and distinctive yellow circles that indicate groups of ten verses.

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.

Although individual verses are not separated, this parchment manuscript marks groups of five verses with a golden letter 'hāʾ' and groups of ten with stylized medallions. The text is written in dark brown ink and features partial vocalization using red dots.

The manuscript features ornate decorations, including specific rosettes separating verses and a golden Kufic 'hāʾ' marking groups of five verses. Tens of verses are indicated by medallions containing the fully spelled-out number, and some surahs are preceded by their titles and verse counts in gold ink alongside a lanceolate vignette.

This fragment features Kufic script (Group D) with mostly absent diacritics. Vocalization is marked with red dots, and hamza with green dots. While individual verses are not separated, gilded Kufic hāʾ letters mark groups of five verses, and illuminated medallions indicate groups of ten.

This fragment features Kufic script (Group D) with mostly absent diacritics. Vocalization is marked with red dots, and hamza with green dots. While individual verses are not separated, gilded Kufic hāʾ letters mark groups of five verses, and illuminated medallions indicate groups of ten.

This fragment epitomizes the stately elegance of the kufic script with razor-sharp letters on cream-colored parchment. The overall design features harmonized letterforms, generous spacing, and equidistant rows to create geometric balance and an unhurried rhythm.

This fragment epitomizes the stately elegance of the kufic script with razor-sharp letters on cream-colored parchment. The overall design features harmonized letterforms, generous spacing, and equidistant rows to create geometric balance and an unhurried rhythm.

This fragment epitomizes the stately elegance of the kufic script with razor-sharp letters on cream-colored parchment. The overall design features harmonized letterforms, generous spacing, and equidistant rows to create geometric balance and an unhurried rhythm.

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 parchment manuscript features the second ǧuz’ of the Quran, written with five lines per page, and is decorated with ink, opaque watercolor, and gold.

This parchment manuscript features the second ǧuz’ of the Quran, written with five lines per page, and is decorated with ink, opaque watercolor, and gold.

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 is part of a collection of early Qur'an manuscripts acquired by scholars Edward H. Palmer and E.E. Tyrwhitt Drake during a research trip to the Sinai Peninsula in 1878.

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.