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 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.

Considered by Gotthelf Bergsträßer to be the most important representative of the ḥiǧāzī script style due to its extensive size. It features a bold hand with tall, right-leaning hastae that sets it apart from more conventional early Kufic Qurans. Two folios from this same codex are currently preserved at the Dār al-Āṯār al-Islāmiyya in Kuwait.

Considered by Gotthelf Bergsträßer to be the most important representative of the ḥiǧāzī script style due to its extensive size. It features a bold hand with tall, right-leaning hastae that sets it apart from more conventional early Kufic Qurans. Two folios from this same codex are currently preserved at the Dār al-Āṯār al-Islāmiyya in Kuwait.

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 manuscript features an unusual version of the Hijazi script and contains illumination of horizontal chevron bands between Surahs. It belongs to a larger dispersed codex that includes manuscripts MS.68, MS.69, MS.70, and MS.699 in the Museum of Islamic Art (Doha), as well as a fragment in a private collection.

This manuscript features an unusual version of the Hijazi script and contains illumination of horizontal chevron bands between Surahs. It belongs to a larger dispersed codex that includes manuscripts MS.68, MS.69, MS.70, and MS.699 in the Museum of Islamic Art (Doha), as well as a fragment in a private collection.

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.

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.

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 fragmentary manuscript on parchment features an unclassified script with analogies to Early Abbasid groups A and B. A later reader notably added marginal indications in green ink to show a seven-part division of the text, placed within a circle.

This early manuscript fragment is notable for its complete lack of consonantal diacritical marks, though it employs red dots for vocalization. It features sophisticated verse separators, including rosettes between individual verses, tear-shaped decorations for groups of five, and intricate medallions explicitly naming the tens for every ten verses.

This early manuscript fragment is notable for its complete lack of consonantal diacritical marks, though it employs red dots for vocalization. It features sophisticated verse separators, including rosettes between individual verses, tear-shaped decorations for groups of five, and intricate medallions explicitly naming the tens for every ten verses.

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 features a distinct Kufic C.Ib script with Hijazi tendencies, where the final mīm is notably triangular with an extended tail. It employs red-orange diamonds for vocalization, and the letter Qāf is uniquely indicated by an oblique stroke below it.

This manuscript features a distinct Kufic C.Ib script with Hijazi tendencies, where the final mīm is notably triangular with an extended tail. It employs red-orange diamonds for vocalization, and the letter Qāf is uniquely indicated by an oblique stroke below it.

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 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 anonymous and undated manuscript features a unique, unclassified script characterized by bold, vertical lettering. Notably, it includes oval-shaped diacritical dots that were added extensively, as well as red dots used for vocalization.

This heavily decorated manuscript is notable for its rich gold ornamentation, including golden hāʾ for five-verse markers and margin medallions spelling out ten-verse counts. It is part of a larger dispersed codex and connects directly with manuscript C. 4, while folio 150r bears an enigmatic 'no 7' note written by a later European hand.

This heavily decorated manuscript is notable for its rich gold ornamentation, including golden hāʾ for five-verse markers and margin medallions spelling out ten-verse counts. It is part of a larger dispersed codex and connects directly with manuscript C. 4, while folio 150r bears an enigmatic 'no 7' note written by a later European hand.

This heavily decorated manuscript is notable for its rich gold ornamentation, including golden hāʾ for five-verse markers and margin medallions spelling out ten-verse counts. It is part of a larger dispersed codex and connects directly with manuscript C. 4, while folio 150r bears an enigmatic 'no 7' note written by a later European hand.

This heavily decorated manuscript is notable for its rich gold ornamentation, including golden hāʾ for five-verse markers and margin medallions spelling out ten-verse counts. It is part of a larger dispersed codex and connects directly with manuscript C. 4, while folio 150r bears an enigmatic 'no 7' note written by a later European hand.

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.

Held at the Bibliothèque nationale de France, this manuscript features red dots for vocalization and green dots for hamza. It also uses gold Kufic 'hāʾ' letters to mark groups of five verses and marginal medallions for tens of verses.

Held at the Bibliothèque nationale de France, this manuscript features red dots for vocalization and green dots for hamza. It also uses gold Kufic 'hāʾ' letters to mark groups of five verses and marginal medallions for tens of verses.

This manuscript features distinctive illumination, including a golden Kufic 'hā'' to mark groups of five verses and golden ink for Surah titles and verse counts. It also contains an elaborate tree-like vignette on folio 74r to indicate the beginning of the 19th Juz'.

This manuscript features distinctive illumination, including a golden Kufic 'hā'' to mark groups of five verses and golden ink for Surah titles and verse counts. It also contains an elaborate tree-like vignette on folio 74r to indicate the beginning of the 19th Juz'.

This manuscript features distinctive illumination, including a golden Kufic 'hā'' to mark groups of five verses and golden ink for Surah titles and verse counts. It also contains an elaborate tree-like vignette on folio 74r to indicate the beginning of the 19th Juz'.

This 9th-century manuscript from the Abbasid period features ink, opaque watercolor, and gold on parchment. It is formatted in a typical horizontal layout with exactly 6 lines per page.

This 9th-century manuscript from the Abbasid period features ink, opaque watercolor, and gold on parchment. It is formatted in a typical horizontal layout with exactly 6 lines per page.

The manuscript originates from the collection of J. Richard and its text is written without diacritical marks, using red dots for vocalization. It features a unique binding with 16th or 17th-century brown leather boards, possibly of Indian origin, decorated with a central plaque and stamped fleurons.

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 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 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 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 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 manuscript is written in the distinctive maġribī script on parchment (150 x 160mm) and contains 7 lines per page. It is held at The Walters Art Museum.

This manuscript is written in the distinctive maġribī script on parchment (150 x 160mm) and contains 7 lines per page. It is held at The Walters Art Museum.