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 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 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'.

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 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 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, 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, 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 is part of the collection acquired by Johann Gottfried Wetzstein, the Prussian consul in Damascus, during the 19th century. Written on thick parchment, it features specific colored dots for vocalization and reading marks, illustrating the early evolution of Arabic orthography and diacritics.

This fragmentary manuscript features Kūfī D.III script with an evolving orthography, using partially added oblique strokes for diacritics. Uniquely, it employs color-coded dots for pronunciation, using red and orange for vocalization and orange and green specifically for the hamza.

This parchment fragment features gold ornamentation to mark groups of verses and surah titles, reflecting early decorative practices in Kufic Quranic manuscripts.

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 colorful vocalization with red dots for vowels, green dots for hamza, and yellow dots for šadda. Intriguingly, folio 4 was reported missing from the French National Library around the year 2000. Another folio from the same original manuscript is currently held in the Forschungsbibliothek Gotha (A 450).

The manuscript features colorful vocalization with red dots for vowels, green dots for hamza, and yellow dots for šadda. Intriguingly, folio 4 was reported missing from the French National Library around the year 2000. Another folio from the same original manuscript is currently held in the Forschungsbibliothek Gotha (A 450).

The manuscript features colorful vocalization with red dots for vowels, green dots for hamza, and yellow dots for šadda. Intriguingly, folio 4 was reported missing from the French National Library around the year 2000. Another folio from the same original manuscript is currently held in the Forschungsbibliothek Gotha (A 450).

This manuscript features early developments in reading aids, utilizing partial oblique diacritical marks and red dots for vocalization. Golden rosettes and Kufic 'hāʾ' letters are used to mark divisions of verses, illustrating an evolving aesthetic in early Quranic manuscript production.

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 parchment manuscript features Surah al-Furqan's title written in hollow gold script, accompanied by an illuminated marginal 'tree' decoration. The style of this illumination suggests it may have originally belonged to the same multi-volume Quran (rab'ah) as other known fragments, including those in the Khalil collection.

This parchment manuscript features Surah al-Furqan's title written in hollow gold script, accompanied by an illuminated marginal 'tree' decoration. The style of this illumination suggests it may have originally belonged to the same multi-volume Quran (rab'ah) as other known fragments, including those in the Khalil collection.

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 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.

The codex features an illuminated frontispiece of geometric design and a similarly decorated finispiece. Its blind-tooled black goatskin binding is attributable to Egypt and represents an important example of early Islamic bookbinding.

The codex features an illuminated frontispiece of geometric design and a similarly decorated finispiece. Its blind-tooled black goatskin binding is attributable to Egypt and represents an important example of early Islamic bookbinding.

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 Kufic fragment was acquired by the University of Cambridge in 1878 from Edward H. Palmer and E.E. Tyrwhitt Drake. Palmer collected this and several other early Quran manuscripts during a research trip to the Sinai Peninsula.

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 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 paper manuscript leaf is written in New Style I script, an angular and vertically pronounced script (also known as Eastern Kufic) that gained popularity in the 10th and 11th centuries across 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.