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.

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 12-folio parchment fragment features partial vocalization using red dots and oblique strokes for diacritics. It includes verse dividers marked by three oblique strokes and groups of ten verses indicated by circles.

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.

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 is part of the collection of early Quranic fragments from Fustat (Old Cairo). It is notable for its early verse division markers, including groups of three oblique strokes for individual verses and a distinctive six-pointed star outlined in gold and red to mark every 100 verses.

This manuscript is part of the collection of early Quranic fragments from Fustat (Old Cairo). It is notable for its early verse division markers, including groups of three oblique strokes for individual verses and a distinctive six-pointed star outlined in gold and red to mark every 100 verses.

This manuscript is written in the Early Abbasid Kufic D.IV script. A fascinating feature is its evolution in ornamentation: the verses were originally separated by simple oblique strokes, which were later overlaid or replaced with groups of three golden dots, demonstrating how early Qurans were updated with more elaborate illumination over time.

This manuscript is written in the Early Abbasid Kufic D.IV script. A fascinating feature is its evolution in ornamentation: the verses were originally separated by simple oblique strokes, which were later overlaid or replaced with groups of three golden dots, demonstrating how early Qurans were updated with more elaborate illumination over time.

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 anonymous and undated manuscript features 15 parchment folios with oblique strokes for diacritics, some original and some added later, alongside red dots for vocalization. While individual verses are not separated, groups of five are marked with golden hāʾ characters, and groups of ten are indicated by stylized medallions.

This anonymous and undated manuscript features 15 parchment folios with oblique strokes for diacritics, some original and some added later, alongside red dots for vocalization. While individual verses are not separated, groups of five are marked with golden hāʾ characters, and groups of ten are indicated by stylized medallions.

This anonymous and undated manuscript features 15 parchment folios with oblique strokes for diacritics, some original and some added later, alongside red dots for vocalization. While individual verses are not separated, groups of five are marked with golden hāʾ characters, and groups of ten are indicated by stylized medallions.

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 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 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 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.

This manuscript is part of the collection acquired by Johann Gottfried Wetzstein, the Prussian consul in Damascus from 1848 to 1862. It is notable for its extensive use of early diacritical marks, including red dots for vocalization and green dots often associated with the letter 'ha'.

This manuscript is part of the collection acquired by Johann Gottfried Wetzstein, the Prussian consul in Damascus from 1848 to 1862. It is notable for its extensive use of early diacritical marks, including red dots for vocalization and green dots often associated with the letter 'ha'.

The manuscript features colorful vocalization using red, green, and blue dots, despite lacking diacritical marks to distinguish consonants. Additionally, a later hand added an endowment inscription (Waqf) in the upper margins of several folios, dedicating the manuscript to God.

The manuscript features colorful vocalization using red, green, and blue dots, despite lacking diacritical marks to distinguish consonants. Additionally, a later hand added an endowment inscription (Waqf) in the upper margins of several folios, dedicating the manuscript to God.

The manuscript features colorful vocalization using red, green, and blue dots, despite lacking diacritical marks to distinguish consonants. Additionally, a later hand added an endowment inscription (Waqf) in the upper margins of several folios, dedicating the manuscript to God.

The manuscript features colorful vocalization using red, green, and blue dots, despite lacking diacritical marks to distinguish consonants. Additionally, a later hand added an endowment inscription (Waqf) in the upper margins of several folios, dedicating the manuscript to God.

The manuscript features colorful vocalization using red, green, and blue dots, despite lacking diacritical marks to distinguish consonants. Additionally, a later hand added an endowment inscription (Waqf) in the upper margins of several folios, dedicating the manuscript to God.

The manuscript features colorful vocalization using red, green, and blue dots, despite lacking diacritical marks to distinguish consonants. Additionally, a later hand added an endowment inscription (Waqf) in the upper margins of several folios, dedicating the manuscript to God.

The manuscript features colorful vocalization using red, green, and blue dots, despite lacking diacritical marks to distinguish consonants. Additionally, a later hand added an endowment inscription (Waqf) in the upper margins of several folios, dedicating the manuscript to God.

The manuscript features colorful vocalization using red, green, and blue dots, despite lacking diacritical marks to distinguish consonants. Additionally, a later hand added an endowment inscription (Waqf) in the upper margins of several folios, dedicating the manuscript to God.

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 anonymous, undated Kufic manuscript stands out for its decorative features, including yellow Kufic 'hā' letters marking groups of five verses and vine-scroll vignettes for surah headings. It features a recent Maghrebi binding with geometric gold motifs and previously belonged to the collection of General Lyautey.

This anonymous and undated parchment manuscript is written in the Kufic E.I script. While individual verses are not separated, groups of ten verses are marked by a distinctive black dot encircled in red. It also shows signs of later use and preservation, with some parts of its dark brown ink having been retraced and corrected.

This anonymous and undated parchment manuscript is written in the Kufic E.I script. While individual verses are not separated, groups of ten verses are marked by a distinctive black dot encircled in red. It also shows signs of later use and preservation, with some parts of its dark brown ink having been retraced and corrected.

This anonymous and undated parchment manuscript is written in the Kufic E.I script. While individual verses are not separated, groups of ten verses are marked by a distinctive black dot encircled in red. It also shows signs of later use and preservation, with some parts of its dark brown ink having been retraced and corrected.

This anonymous and undated parchment manuscript is written in the Kufic E.I script. While individual verses are not separated, groups of ten verses are marked by a distinctive black dot encircled in red. It also shows signs of later use and preservation, with some parts of its dark brown ink having been retraced and corrected.

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.

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.

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 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.