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.

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 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.

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 parchment manuscript features polychrome medallions in yellow, red, and green to indicate groups of ten verses. The surah titles and verse counts were notably added by a later hand using red ink.

This parchment manuscript features polychrome medallions in yellow, red, and green to indicate groups of ten verses. The surah titles and verse counts were notably added by a later hand using red ink.

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 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 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 parchment fragment is preserved in the Vatican Library under the shelfmark Vat. Ar. 1605, a composite collection containing leaves from multiple ancient Quranic manuscripts. It notably features a quinary verse divider after verse 5 and shows evidence of retraced writing on its verso side, pointing to historical efforts at preservation.

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 was part of the first palaeographical study of Arabic script in the West, written by Jakob Georg Christian Adler in 1780. Acquired by Friedrich Buchwald in the 17th century, the fragment features a carpet-like tooled design binding with gilded frames and Danish state emblems on the spine.

This manuscript was part of the first palaeographical study of Arabic script in the West, written by Jakob Georg Christian Adler in 1780. Acquired by Friedrich Buchwald in the 17th century, the fragment features a carpet-like tooled design binding with gilded frames and Danish state emblems on the spine.

This Abbasid-era manuscript is written on parchment in the Kufic B.II script style and originates from Fustat. It features later additions of red vocalization dots and rubricated circles to mark groups of ten verses, with surah titles and verse counts added in red ink to match the main text's script.

This Abbasid-era manuscript is written on parchment in the Kufic B.II script style and originates from Fustat. It features later additions of red vocalization dots and rubricated circles to mark groups of ten verses, with surah titles and verse counts added in red ink to match the main text's script.

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 manuscript fragment originates from the Mosque of 'Amr ibn al-'As in Fustat (Old Cairo). It is notable for its advanced ornamentation, featuring golden Kufic letters to mark groups of five verses and specialized medallions with letter-numerals to indicate groups of ten.

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 anonymous, undated manuscript features a distinct 'New Style (type III)' script. While it lacks regular diacritics, vocalization is marked with red dots. Interestingly, individual verses are not separated, but golden Kufic hāʾ letters signal groups of five verses, and medallions mark every ten verses. Furthermore, Sura 63 has its title and verse count beautifully rendered in golden ink.

This anonymous, undated manuscript features a distinct 'New Style (type III)' script. While it lacks regular diacritics, vocalization is marked with red dots. Interestingly, individual verses are not separated, but golden Kufic hāʾ letters signal groups of five verses, and medallions mark every ten verses. Furthermore, Sura 63 has its title and verse count beautifully rendered in golden ink.

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 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.