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 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 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 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.

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 8th-century codex features scarce use of diacritical marks and no vocalization, reflecting its antiquity. Fragments of the original manuscript are now widely dispersed, with portions held not only in Paris but also in the Vatican Library (Vat.ar.1784), the Khalili Collections (KFQ 49), and the University of Pennsylvania Museum (E 16264 D).

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 manuscript was documented by Gotthelf Bergsträßer as 'Saray Medina 1b', and its photographs became part of his famous archive in Munich. Notably, it still retains a dark olive-coloured leather binding with a traditional flap (miklep) and mandorla (şemse), as well as multi-colored geometric sura headings.

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 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 folio is part of the Vat. Ar. 1605 collection of Quranic fragments from Fustat. It features red vowel marks and diacritical points that were added by a later hand. A rosette-shaped ten-verse divider appears after verse 59, reflecting the verse numbering systems of Basra, Damascus, and Homs.

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.

The black-and-white images of this 16-line Kufic manuscript survive in the archives of Gotthelf Bergsträßer, who photographed it around 1930. Because its actual shelf number within the Egyptian National Library is currently unknown, these archival photos serve as the primary record of its existence.

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 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.

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.

Originating from Fustat (Old Cairo), this fragment is notable for its marginal markings that indicate the division of the Quran into sevenths, fifths, and tenths to facilitate systematic recitation. The manuscript features a Kufic D.I script with oblique stroke diacritics, red dot vocalization, and golden letters indicating verse groupings.

Originating from Fustat (Old Cairo), this fragment is notable for its marginal markings that indicate the division of the Quran into sevenths, fifths, and tenths to facilitate systematic recitation. The manuscript features a Kufic D.I script with oblique stroke diacritics, red dot vocalization, and golden letters indicating verse groupings.

This manuscript features rare oblique strokes for diacritics and red dots for vocalization. Golden Kufic hāʾ letters mark groups of five verses, while illuminated medallions indicate groups of ten.

This manuscript features rare oblique strokes for diacritics and red dots for vocalization. Golden Kufic hāʾ letters mark groups of five verses, while illuminated medallions indicate groups of ten.

This early Quranic manuscript, held in the Bibliothèque nationale de France, features elegant golden Kufic hāʾ letters marking groups of five verses and detailed medallions for groups of ten. It is an important example of early Kufic script (D.I) discovered in Fustat, reflecting the artistic developments in Quranic production of its era.

The verses in this manuscript are not separated individually; instead, gold Kufic 'hāʾ' characters mark groups of five verses, and detailed medallions spell out the tens. Additionally, Surah Yunus (Surah 10) is notably introduced with its title and verse count written in gold ink, accompanied by a lance-shaped vignette.

The verses in this manuscript are not separated individually; instead, gold Kufic 'hāʾ' characters mark groups of five verses, and detailed medallions spell out the tens. Additionally, Surah Yunus (Surah 10) is notably introduced with its title and verse count written in gold ink, accompanied by a lance-shaped vignette.

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.

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.

Acquired in 1878 by the English orientalist and explorer Edward H. Palmer, alongside E.E. Tyrwhitt Drake, during a research expedition to the Sinai Peninsula. This fragment is part of a significant collection of early Quranic manuscripts brought back from this journey.

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.