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 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.

This manuscript is part of 'Codex Amrensis 1', a composite codex reconstructed from fragments scattered across libraries in Paris, St. Petersburg, Doha, and London. It was originally kept in the historic Mosque of 'Amr ibn al-'As in Fustat, making it an important artifact of early Islamic presence in Egypt.

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 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 early manuscript was acquired by Johann Gottfried Wetzstein, a Prussian consul in Damascus, and was subsequently cataloged by Wilhelm Ahlwardt. It is notable for its minimalist orthography typical of the early Kufic style.

This fragment of seven folios is notable for its sparse orthography; diacritical marks are entirely absent, and vocalization is only partially indicated using red dots. Its illumination includes red, blue, and yellow circles to mark groups of ten verses, and interestingly, the script has been traced over by a more recent hand in places where the original ink was heavily damaged.

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 manuscript fragment is part of a significant collection of early Quranic texts held at the Vatican Library, studied extensively by Giorgio Levi Della Vida. It is notable for its early use of colored dots for vocalization—red dots for vowels and yellow dots for hamza—demonstrating a transitional phase in the development of Arabic orthography.

This early Quranic fragment is written on yellowish parchment in a wide Kufic script. It features red dots for vocalization and red ink for Surah headings, but lacks diacritical marks.

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 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 manuscript is part of the collection acquired by Prussian diplomat Johann Gottfried Wetzstein in Damascus. It features a large, stately Kufic script with thick letters, though the originally beautiful black ink has often faded into brown.

This parchment manuscript comes from the collection of Prussian diplomat Johann Gottfried Wetzstein. According to Wilhelm Ahlwardt's 1887 catalogue, its surah headings are written in gold script, and while basic diacritical marks are missing, vowels and nunation are notably indicated using red dots.

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 is beautifully illuminated, using rosettes to separate verses, teardrop designs for groups of five verses, and medallions containing the name of the decade in full letters for groups of ten verses. At the end of Surah 27, the empty space is filled with a striking garland of plant motifs.

This manuscript is an early example of the angular Kūfī D.I script on parchment, notable for its striking decorative elements. It uses golden Kufic 'hāʾ' letters to mark groups of five verses and intricate medallions for every ten verses, while the individual verses run continuously without separation marks.

This manuscript is an early example of the angular Kūfī D.I script on parchment, notable for its striking decorative elements. It uses golden Kufic 'hāʾ' letters to mark groups of five verses and intricate medallions for every ten verses, while the individual verses run continuously without separation marks.

This fragment features a substantial number of oval-shaped diacritical marks and uses red dots for vocalization. Individual verses are not separated, but medallions of type 2.A.II are used to indicate groups of ten verses.

This early Quranic fragment is notable for its illuminated Surah titles, where the title and verse counts are written with words in alternating red and green ink. The manuscript also employs rare oblique strokes for diacritical marks and red dots for vocalization, alongside red Kufic 'hāʾ' letters to mark groups of five verses.

This 8-folio parchment manuscript features the Kufic D.IV script with vocalization marked by red dots and added diacritical points. It uses rosettes to separate verses, and marks groups of five and ten verses with golden Kufic hāʾs and medallions. It was formerly part of the J. Richard collection.

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.

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 anonymous, undated fragment of 8 parchment folios originates from the collection of Charles Schefer. It features Kufic D.IV script with no diacritical marks, uses red dots for vocalization, and employs yellow Kufic 'hāʾ' letters to mark groups of five verses.

This single-folio parchment is an example of the Early Kufic script style (kūfī E.I). It is currently preserved and digitized in the Brown Digital Repository.

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 manuscript is a fragment of an Abbasid Qur'ān written on 36 parchment folios.

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.

Particularly notable is that the text box on the verso is sprinkled with gold flecks on top of the text, a decorative technique known as zarafshan. The manuscript also features gilded blue and red star verse markers, and gilded diamond floral marginal illuminations in multiple colors.