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 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.

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 8th-century codex features scarce use of diacritical marks and no vocalization, reflecting its antiquity. Fragments of the original manuscript are now widely dispersed, with portions held not only in Paris but also in the Vatican Library (Vat.ar.1784), the Khalili Collections (KFQ 49), and the University of Pennsylvania Museum (E 16264 D).

This 8th-century codex features scarce use of diacritical marks and no vocalization, reflecting its antiquity. Fragments of the original manuscript are now widely dispersed, with portions held not only in Paris but also in the Vatican Library (Vat.ar.1784), the Khalili Collections (KFQ 49), and the University of Pennsylvania Museum (E 16264 D).

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 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 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.

An endowment (waqf) note on folio 7r, added by a later hand, states that the volume was donated to the mosque of Fustat by 'Amran b. al-Talab on November 10, 940 AD (6 Safar 329 AH). The manuscript also features unique decorations for verse groupings, including outlined alifs for groups of five and specific medallions for tens, fifties, and hundreds.

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 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 was cataloged by Wilhelm Ahlwardt in 1887. Its script is characterized by medium-sized, elongated letters. While diacritical marks are generally present, they are systematically omitted in certain endings like the 'yā' in the '-īn' suffix.

The black dots that originally separated the verses in this manuscript were later replaced with golden dots. Furthermore, golden 'hāʾ' letters were added to indicate groups of five verses, and golden medallions with letter-numerals were used to mark groups of ten, while a later hand added surah titles and verse counts in golden ink.

The black dots that originally separated the verses in this manuscript were later replaced with golden dots. Furthermore, golden 'hāʾ' letters were added to indicate groups of five verses, and golden medallions with letter-numerals were used to mark groups of ten, while a later hand added surah titles and verse counts in golden ink.

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 anonymous, undated parchment codex is written in early Kufic script and features elaborate verse dividers, including golden Kufic hāʾ markers for every five verses. Notably, folio 17 of this codex is among a group of early Quranic manuscript pages reported missing from the French National Library since approximately 2000.

This anonymous, undated parchment codex is written in early Kufic script and features elaborate verse dividers, including golden Kufic hāʾ markers for every five verses. Notably, folio 17 of this codex is among a group of early Quranic manuscript pages reported missing from the French National Library since approximately 2000.

This anonymous, undated parchment codex is written in early Kufic script and features elaborate verse dividers, including golden Kufic hāʾ markers for every five verses. Notably, folio 17 of this codex is among a group of early Quranic manuscript pages reported missing from the French National Library since approximately 2000.

The verses in this manuscript are not separated individually; instead, gold Kufic 'hāʾ' characters mark groups of five verses, and detailed medallions spell out the tens. Additionally, Surah Yunus (Surah 10) is notably introduced with its title and verse count written in gold ink, accompanied by a lance-shaped vignette.

Originating from the collection of A. Renaud, this fragment exhibits Early Abbasid 'Kufic B II' script. It is notable for its use of red dots for vocalization while completely omitting diacritical marks, and employs C.C.I style decorations to signal groups of ten verses.

This manuscript was part of the collection acquired in Damascus by Johann Gottfried Wetzstein in the 19th century, which significantly enriched the Oriental holdings of the Prussian State Library.

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 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.