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.

These fragments are written in the early Hijazi script and have been extensively studied by Nabia Abbott in her seminal 1939 work 'The Rise of the North Arabic Script'. The Arabe 7201 fragment was previously part of the Seymour de Ricci collection and was purchased in 1909 from an Egyptian dealer in Asyut.

These fragments are written in the early Hijazi script and have been extensively studied by Nabia Abbott in her seminal 1939 work 'The Rise of the North Arabic Script'. The Arabe 7201 fragment was previously part of the Seymour de Ricci collection and was purchased in 1909 from an Egyptian dealer in Asyut.

This is one of the few early Qur'anic texts on papyrus that is not a magical papyrus or a quotation in a letter. Its small, oblong size indicates it was originally created for private use.

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.

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 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 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 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 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 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 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 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 fragmentary manuscript features Kūfī D.III script with an evolving orthography, using partially added oblique strokes for diacritics. Uniquely, it employs color-coded dots for pronunciation, using red and orange for vocalization and orange and green specifically for the hamza.

This fragmentary manuscript features Kūfī D.III script with an evolving orthography, using partially added oblique strokes for diacritics. Uniquely, it employs color-coded dots for pronunciation, using red and orange for vocalization and orange and green specifically for the hamza.

This manuscript features a fascinating cursive marginal note on folio 13v revealing that it was originally endowed as a Waqf in a shrine outside the city of Tyre. Furthermore, the text on the flesh side of the parchment was later retraced in black ink by a subsequent scribe to preserve the fading script.

This manuscript features a fascinating cursive marginal note on folio 13v revealing that it was originally endowed as a Waqf in a shrine outside the city of Tyre. Furthermore, the text on the flesh side of the parchment was later retraced in black ink by a subsequent scribe to preserve the fading script.

This fragmented manuscript, held at the BnF and known as Arabe 349 (d), was discovered in al-Fustat, the first capital of Egypt under Muslim rule. It is notable for its intricate verse dividers featuring rosettes and medallions, and utilizes a sparse system of oblique strokes for diacritics and green dots for hamzas.

This fragmented manuscript, held at the BnF and known as Arabe 349 (d), was discovered in al-Fustat, the first capital of Egypt under Muslim rule. It is notable for its intricate verse dividers featuring rosettes and medallions, and utilizes a sparse system of oblique strokes for diacritics and green dots for hamzas.

The manuscript features rare oval diacritics and red dots for vocalization. Golden Kufic letters (hāʾ) are used to mark groups of five verses, while ten-verse groups are marked with decorative medallions. Notably, the beginning of Surah 19 includes the surah's title and verse count inscribed in golden ink.

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.

The manuscript features ornate decorations on folio 2 recto, including bands with a yellow undulating stem and lanceolate vignettes, marking the beginning of the last of the seven parts of the Quran.

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.

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 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.

This codex is written on paper in a floriated 'New Style' script (also known as Eastern Kufic), featuring tall vertical strokes and stylized floral motifs. It represents the 11th-century transition in the Eastern Islamic world from parchment to paper for Qur'anic manuscripts.

This codex is written on paper in a floriated 'New Style' script (also known as Eastern Kufic), featuring tall vertical strokes and stylized floral motifs. It represents the 11th-century transition in the Eastern Islamic world from parchment to paper for Qur'anic manuscripts.

This manuscript is a rare case where a Quranic codex is precisely dated by a colophon (completed on May 5, 1204 AD) and the scribe, al-Faḍl b. ʿUmar ar-Rāʾiḍ, is a known Iraqi scholar mentioned in Muslim scholarly literature. It also contains an exegetical compilation detailing circumstances of revelation, abrogated verses, and variant readings.