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.

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 manuscript is a fragment of a larger ancient codex that was likely originally kept in Damascus. Other surviving leaves from this exact same Quran are now scattered globally, including fragments held at Cambridge University (Add. 1125) and the Turkish and Islamic Arts Museum.

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 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 manuscript features the distinct Kūfī D.I script as classified by François Déroche. It notably uses golden medallions and bands to mark chapter headings and verse groups, reflecting the growing formalization of Quranic illumination during the early Islamic period.

This manuscript features the distinct Kūfī D.I script as classified by François Déroche. It notably uses golden medallions and bands to mark chapter headings and verse groups, reflecting the growing formalization of Quranic illumination during the early Islamic period.

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 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 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 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 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.

This manuscript is written in Kūfī D.III script on parchment. Notably, folios 23 and 24 have been reported missing from the French National Library since approximately 2000, and scholars must now rely on older microfilm records to study them.

This manuscript features distinctive illumination, such as green dots for the hamza and red dots for partial vocalization. Groups of five and ten verses are marked with marginal medallions, and Surah 27 is introduced with an elaborate title band featuring white characters on a red background adorned with plant motifs.

This manuscript features distinctive illumination, such as green dots for the hamza and red dots for partial vocalization. Groups of five and ten verses are marked with marginal medallions, and Surah 27 is introduced with an elaborate title band featuring white characters on a red background adorned with plant motifs.

This early manuscript employs gold Kufic 'hā' characters to mark groups of five verses and intricate rosettes of type 2.A.II for groups of ten. While diacritical marks are absent, red dots are used for vocalization.

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 67-folio horizontal manuscript is a striking example of Early Abbasid (Kufic) calligraphy, featuring gold ink for chapter headings. The text is vocalized with red dots, and its green goatskin binding with gold-painted floral designs was added later in the 19th century.

The manuscript features vocalisation indicated by red dots, alongside occasional green dots whose function remains unclear. Verse groupings are marked by golden Kufic hāʾ letters for five verses and illuminated medallions for ten verses.

The manuscript features vocalisation indicated by red dots, alongside occasional green dots whose function remains unclear. Verse groupings are marked by golden Kufic hāʾ letters for five verses and illuminated medallions for ten verses.

This Abbasid-era manuscript was acquired by the University of Cambridge in 1878 from the English orientalist Edward H. Palmer. Palmer discovered it along with several other early Quranic fragments during a research expedition to the Sinai Peninsula.

This Abbasid-era manuscript was acquired by the University of Cambridge in 1878 from the English orientalist Edward H. Palmer. Palmer discovered it along with several other early Quranic fragments during a research expedition to the Sinai Peninsula.

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 manuscript is part of the collection acquired by Johann Gottfried Wetzstein during his tenure as Prussian consul in Damascus (1849–1861). It is written in the 'New Style' script (also known as New Abbasid Style), which became prominent in the 10th century and marks a transition towards more vertical, proportioned scripts.

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.