This manuscript is believed to originate from the same codex as the famous Birmingham Quran manuscript (Mingana 1572a), which was radiocarbon dated to between 568 and 645 AD. This makes it part of one of the oldest surviving Quranic manuscripts in the world and an early descendant of the Uthmanic codex.

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 fragment is a defective leaf with loss of text at the edges, notable for its extremely long alifs measuring up to 200 mm. It is part of a collection of five Quranic fragments on parchment held under shelfmark 14 G.

This codex is a composite of six different fragments photographed by Gotthelf Bergsträßer around 1930. The fragments encompass a wide range of distinct script styles, from early Ḥiǧāzī and Kūfī to later Maġribī, reflecting a diverse collection of leaves bound or kept together at the Khedivial Library in Cairo.

This codex is a composite of six different fragments photographed by Gotthelf Bergsträßer around 1930. The fragments encompass a wide range of distinct script styles, from early Ḥiǧāzī and Kūfī to later Maġribī, reflecting a diverse collection of leaves bound or kept together at the Khedivial Library in Cairo.

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 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.

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 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 is part of the extensive collection of early Quranic fragments held at the Bibliothèque nationale de France. Cataloged by François Déroche, its verses are not separated by individual marks; instead, it features rubricated alifs marking groups of five verses, and type 1.B.I circles marking groups of ten.

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, 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.

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.

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 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.

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 fragment features a substantial number of oval-shaped diacritical marks and uses red dots for vocalization. Individual verses are not separated, but medallions of type 2.A.II are used to indicate groups of ten verses.

This fragment features a substantial number of oval-shaped diacritical marks and uses red dots for vocalization. Individual verses are not separated, but medallions of type 2.A.II are used to indicate groups of ten verses.

This Abbasid-era Kufic manuscript features an elaborate, multi-colored vocalization system, utilizing red and yellow dots for vowels and green dots for hamza. It also contains decorative rosettes separating verses and distinct medallions marking groups of five and ten verses.

This Abbasid-era Kufic manuscript features an elaborate, multi-colored vocalization system, utilizing red and yellow dots for vowels and green dots for hamza. It also contains decorative rosettes separating verses and distinct medallions marking groups of five and ten verses.

This early Quranic manuscript, held in the Bibliothèque nationale de France, features elegant golden Kufic hāʾ letters marking groups of five verses and detailed medallions for groups of ten. It is an important example of early Kufic script (D.I) discovered in Fustat, reflecting the artistic developments in Quranic production of its era.

This early Quranic manuscript, held in the Bibliothèque nationale de France, features elegant golden Kufic hāʾ letters marking groups of five verses and detailed medallions for groups of ten. It is an important example of early Kufic script (D.I) discovered in Fustat, reflecting the artistic developments in Quranic production of its era.

This manuscript features elaborate golden illuminations, including a golden Kufic 'hāʾ' to mark every five verses and ornate medallions for every ten verses. The surah headers are beautifully decorated with golden titles, verse counts, and foliate vignettes.

This 10-folio parchment manuscript from the Schefer collection features absent diacritics but uses red dots for vocalization. Verses are unseparated, though groups of ten are marked by red circles, and Surah titles with their verse counts appear in red ink.

Originally discovered in Fustat (Old Cairo), this fragment is notable for its intricate verse division markers. It employs a golden 'hāʾ' to mark groups of five verses and varied medallion designs containing fully written words for every ten verses.

Originally discovered in Fustat (Old Cairo), this fragment is notable for its intricate verse division markers. It employs a golden 'hāʾ' to mark groups of five verses and varied medallion designs containing fully written words for every ten verses.

This fragment from the Abbasid tradition features individual verses without regular punctuation, instead marking the end of every fifth verse with a gold Kufic hāʾ, and every tenth verse with a distinct gold device surrounded by red and green dots. The title and verse count of Sūrat al-Anbiyāʾ are ornately given in gold lettering outlined in ink.

This fragment from the Abbasid tradition features individual verses without regular punctuation, instead marking the end of every fifth verse with a gold Kufic hāʾ, and every tenth verse with a distinct gold device surrounded by red and green dots. The title and verse count of Sūrat al-Anbiyāʾ are ornately given in gold lettering outlined in ink.

This fragment from the Abbasid tradition features individual verses without regular punctuation, instead marking the end of every fifth verse with a gold Kufic hāʾ, and every tenth verse with a distinct gold device surrounded by red and green dots. The title and verse count of Sūrat al-Anbiyāʾ are ornately given in gold lettering outlined in ink.

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 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.