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 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.

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.

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 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 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 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'.

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.

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 manuscript features elaborate illumination, including rosettes separating individual verses and golden Kufic 'hāʾ' letters marking groups of five verses. Additionally, medallions containing the written names of tens mark every tenth verse, and a golden 'sajdah' indicator appears in the margin of folio 47 recto.

This manuscript features elaborate illumination, including rosettes separating individual verses and golden Kufic 'hāʾ' letters marking groups of five verses. Additionally, medallions containing the written names of tens mark every tenth verse, and a golden 'sajdah' indicator appears in the margin of folio 47 recto.

This manuscript is notable for its complete lack of verse dividers, though it uniquely features the title and verse count of Surah An-Naml (Surah 27) written in red ink at its heading. Additionally, while consonantal diacritics are absent, the scribe utilized red dots for vocalization.

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 is part of the Khayqani Qurʾān. Written on firm vellum with 8 lines per page, the upright and regular script is fully pointed and vocalized in red and black, with verse-endings marked by crude circular ornaments.

This fragment is part of the Khayqani Qurʾān. Written on firm vellum with 8 lines per page, the upright and regular script is fully pointed and vocalized in red and black, with verse-endings marked by crude circular ornaments.

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.

Held at the Qatar National Library, this Abbasid-era manuscript is written on parchment and serves as an example of Kūfī type E.I script. The codex is currently missing a folio between 6v and 7r, which presumably contained verses 27:32-46.

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 manuscript features 5 lines per page on parchment and is written in the 'New style' script, a significant development in Arabic calligraphy during the 10th and 11th centuries.

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 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 small, square codex is written in a diminutive Maġribī script and is entirely vocalised in red. It uses a unique system for the tašdīd marked by a red semicircle that changes orientation based on the vowel, and employs yellow instead of gold for illumination, suggesting a middling quality of production.