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 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 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.

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.

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 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 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.

Carbon dating of this manuscript's parchment by the Coranica project places its origin between the late 7th and mid-8th century AD, making it an important early witness to the Qur'anic text. It was purchased by Leiden University in 1938 from the antiquarian Erik von Scherling.

Carbon dating of this manuscript's parchment by the Coranica project places its origin between the late 7th and mid-8th century AD, making it an important early witness to the Qur'anic text. It was purchased by Leiden University in 1938 from the antiquarian Erik von Scherling.

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 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 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 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 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 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 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 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.

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.

This manuscript is written in the Kufic B.II script, a style characteristic of early Abbasid Qurans. It features rare oblique strokes for diacritical marks and red dots for vocalization, reflecting the early development of Arabic orthography.

This manuscript is written in the Kufic B.II script, a style characteristic of early Abbasid Qurans. It features rare oblique strokes for diacritical marks and red dots for vocalization, reflecting the early development of Arabic orthography.

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.

This small parchment fragment is written in a delicate, dense Kufic script with slightly rounded, unclosed word forms. It features red dot vowels and red surah headings, but lacks diacritical dots.

This fragment was acquired by Edward H. Palmer during a research trip to the Sinai Peninsula and was subsequently acquired by the University of Cambridge in 1878.

This fragment was acquired by Edward H. Palmer during a research trip to the Sinai Peninsula and was subsequently acquired by the University of Cambridge in 1878.

This fragment was acquired by Edward H. Palmer during a research trip to the Sinai Peninsula and was subsequently acquired by the University of Cambridge in 1878.

This Abbasid-era Qur'an fragment, which currently consists of 47 folios out of an original 100, was acquired by Edward H. Palmer and E.E. Tyrwhitt Drake during an 1878 research trip to the Sinai Peninsula.

This manuscript fragment was acquired by the University of Cambridge in 1878 from the English orientalist and explorer Edward H. Palmer and E.E. Tyrwhitt Drake, following a research trip to the Sinai Peninsula.

This manuscript fragment was acquired by the University of Cambridge in 1878 from the English orientalist and explorer Edward H. Palmer and E.E. Tyrwhitt Drake, following a 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 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 Edward H. Palmer during a research trip to the Sinai Peninsula. It was subsequently acquired by the University of Cambridge in 1878 from Palmer and E.E. Tyrwhitt Drake.

This paper folio is written in 'New Style I' script (also known as Eastern Kufic) and forms part of a larger, dispersed Quranic manuscript within the Kirkor Minassian Collection at Brown University.

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 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 14th-century Mamluk period manuscript is notable for its exquisite use of calligraphy in ink, opaque watercolor, and gold on paper. It was bequeathed to the museum by Hervey E. Wetzel in 1919.

This 14th-century Mamluk period manuscript is notable for its exquisite use of calligraphy in ink, opaque watercolor, and gold on paper. It was bequeathed to the museum by Hervey E. Wetzel in 1919.