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 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.

This manuscript features almost complete diacritical marks using oblique strokes, red dots for vocalization, and green dots for hamza. Each surah is introduced by an ornamental band containing its title and verse count in gold lettering, and verse groups are marked with gold hāʾ symbols and letter-numeral medallions.

This manuscript features almost complete diacritical marks using oblique strokes, red dots for vocalization, and green dots for hamza. Each surah is introduced by an ornamental band containing its title and verse count in gold lettering, and verse groups are marked with gold hāʾ symbols and letter-numeral medallions.

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 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.

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 manuscript was previously owned by Kaikobad I, Sultan of the Sultanate of Rum (1219-1237). According to scholars, other folios of the same codex are held in the Library of Topkapı Sarayı in Istanbul.

This manuscript features a distinctive B II Kufic script with triangular ends on horizontal letters and an elongated return on the letter alif. It is adorned with golden hāʾ markers for groups of five verses and intricate medallions for every ten verses.

This manuscript features a distinctive B II Kufic script with triangular ends on horizontal letters and an elongated return on the letter alif. It is adorned with golden hāʾ markers for groups of five verses and intricate medallions for every ten verses.

This manuscript features a distinctive B II Kufic script with triangular ends on horizontal letters and an elongated return on the letter alif. It is adorned with golden hāʾ markers for groups of five verses and intricate medallions for every ten verses.

This manuscript features a distinctive B II Kufic script with triangular ends on horizontal letters and an elongated return on the letter alif. It is adorned with golden hāʾ markers for groups of five verses and intricate medallions 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 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 fragment originally belonged to the same codex as Marcel 16 (National Library of Russia) and Is. 1615 II (Chester Beatty Library). Notably, folio 65 verso was left blank without interrupting the text, likely because the poor quality of the parchment caused ink from the recto side to bleed through.

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 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.

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 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 early Abbasid manuscript is part of a large cache of early Qurans originally discovered in the Mosque of 'Amr ibn al-'As in Fustat (Old Cairo). Written on parchment, the text lacks diacritical dots but features early red dot vocalization marks and distinctive yellow circles that indicate groups of ten verses.

This early Abbasid manuscript is part of a large cache of early Qurans originally discovered in the Mosque of 'Amr ibn al-'As in Fustat (Old Cairo). Written on parchment, the text lacks diacritical dots but features early red dot vocalization marks and distinctive yellow circles that indicate groups of ten verses.

This manuscript is notable for its rich ornamentation, including golden dot groupings to separate verses and elaborate golden medallions with the names of the tens spelled out in golden characters on a red background.

This manuscript is notable for its rich ornamentation, including golden dot groupings to separate verses and elaborate golden medallions with the names of the tens spelled out in golden characters on a red background.

The manuscript uses yellow ink for the title and verse count of Surah 4. Verses are not separated individually, but a triangular figure marks groups of ten verses. The letter Qāf is denoted by a dot placed below the letter.

The manuscript uses yellow ink for the title and verse count of Surah 4. Verses are not separated individually, but a triangular figure marks groups of ten verses. The letter Qāf is denoted by a dot placed below the letter.

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.

The Blue Qurʾān is one of the most famous and luxurious Islamic manuscripts, distinguished by its unique indigo-dyed parchment and gold script (chrysography). Originally kept in Kairouan, Tunisia, its folios are now widely dispersed across many of the world's leading museums and private collections.

This Abbasid-era manuscript was acquired by Edward H. Palmer in 1878 during a research expedition to the Sinai Peninsula.

This Abbasid-era manuscript was acquired by Edward H. Palmer in 1878 during a research expedition 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 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.

Part of the Minassian Collection at Brown University, this leaf is written in New Style I script on paper, demonstrating the transition to paper as a writing material for Qurans in 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.

This manuscript is a rare example of a single Quranic folio written on paper in the elegant tauqīʿ script. It originally belonged to the same codex as Brown University Library folio 6342.

This codex was originally part of a lavish, multi-volume manuscript. Its rich polychrome vocalization includes yellow or orange dots for hamza, green dots for alif al-wasl, and blue symbols for sukun and tashdid. The sūra titles employ angular chrysography reminiscent of Marinid and Nasrid architectural decoration from the 14th century.

This codex was originally part of a lavish, multi-volume manuscript. Its rich polychrome vocalization includes yellow or orange dots for hamza, green dots for alif al-wasl, and blue symbols for sukun and tashdid. The sūra titles employ angular chrysography reminiscent of Marinid and Nasrid architectural decoration from the 14th century.

This codex was originally part of a lavish, multi-volume manuscript. Its rich polychrome vocalization includes yellow or orange dots for hamza, green dots for alif al-wasl, and blue symbols for sukun and tashdid. The sūra titles employ angular chrysography reminiscent of Marinid and Nasrid architectural decoration from the 14th century.

This codex was originally part of a lavish, multi-volume manuscript. Its rich polychrome vocalization includes yellow or orange dots for hamza, green dots for alif al-wasl, and blue symbols for sukun and tashdid. The sūra titles employ angular chrysography reminiscent of Marinid and Nasrid architectural decoration from the 14th century.

This codex was originally part of a lavish, multi-volume manuscript. Its rich polychrome vocalization includes yellow or orange dots for hamza, green dots for alif al-wasl, and blue symbols for sukun and tashdid. The sūra titles employ angular chrysography reminiscent of Marinid and Nasrid architectural decoration from the 14th century.

This codex was originally part of a lavish, multi-volume manuscript. Its rich polychrome vocalization includes yellow or orange dots for hamza, green dots for alif al-wasl, and blue symbols for sukun and tashdid. The sūra titles employ angular chrysography reminiscent of Marinid and Nasrid architectural decoration from the 14th century.

This codex was originally part of a lavish, multi-volume manuscript. Its rich polychrome vocalization includes yellow or orange dots for hamza, green dots for alif al-wasl, and blue symbols for sukun and tashdid. The sūra titles employ angular chrysography reminiscent of Marinid and Nasrid architectural decoration from the 14th century.

This codex was originally part of a lavish, multi-volume manuscript. Its rich polychrome vocalization includes yellow or orange dots for hamza, green dots for alif al-wasl, and blue symbols for sukun and tashdid. The sūra titles employ angular chrysography reminiscent of Marinid and Nasrid architectural decoration from the 14th century.