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Select Surah 1. Al-Fatihah 2. Al-Baqarah 3. Ale-Imran 4. An-Nisa' 5. Al-Ma'idah 6. Al-An`am 7. Al-A`raf 8. Al-Anfal 9. At-Taubah 10. Yunus 11. Hud 12. Yusuf 13. Ar-Ra`d 14. Ibrahim 15. Al-Hijr 16. An-Nahl 17. Al-Isra 18. Al-Kahf 19. Maryam 20. Ta Ha 21. Al-Anbiya' 22. Al-Hajj 23. Al-Mu'minun 24. An-Nur 25. Al-Furqan 26. Ash-Shu`ara' 27. An-Naml 28. Al-Qasas 29. Al-`Ankabut 30. Ar-Rum 31. Luqman 32. As-Sajdah 33. Al-Ahzab 34. Saba' 35. Fatir 36. Ya Sin 37. As-Saffat 38. Sad 39. Az-Zumar 40. Ghafir 41. Fussilat 42. Ash-Shura 43. Az-Zukhruf 44. Ad-Dukhan 45. Al-Jathiyah 46. Al-Ahqaf 47. Muhammad 48. Al-Fath 49. Al-Hujurat 50. Qaf 51. Ad-Dhariyat 52. At-Tur 53. An-Najm 54. Al-Qamar 55. Ar-Rahman 56. Al-Waqi`ah 57. Al-Hadid 58. Al-Mujadilah 59. Al-Hashr 60. Al-Mumtahanah 61. As-Saff 62. Al-Jumu`ah 63. Al-Munafiqun 64. At-Taghabun 65. At-Talaq 66. At-Tahrim 67. Al-Mulk 68. Al-Qalam 69. Al-Haqqah 70. Al-Ma`arij 71. Nuh 72. Al-Jinn 73. Al-Muzammil 74. Al-Mudathir 75. Al-Qiyamah 76. Al-Insan 77. Al-Mursalat 78. An-Naba' 79. An-Nazi`at 80. `Abasa 81. At-Takwir 82. Al-Infitar 83. Al-Mutaffifeen 84. Al-Inshiqaq 85. Al-Buruj 86. At-Tariq 87. Al-A`la 88. Al-Ghashiya 89. Al-Fajr 90. Al-Balad 91. Ash-Shams 92. Al-Layl 93. Ad-Duha 94. Ash-Sharh 95. At-Tin 96. Al-`Alaq 97. Al-Qadr 98. Al-Bayyinah 99. Az-Zalzala 100. Al-`Adiyat 101. Al-Qari`ah 102. At-Takathur 103. Al-`Asr 104. Al-Humazah 105. Al-Fil 106. Al-Quraish 107. Al-Ma`un 108. Al-Kauthar 109. Al-Kafirun 110. An-Nasr 111. Al-Masad 112. Al-Ikhlas 113. Al-Falaq 114. An-Nas Select Ayat Overview
Select Surah 1. Al-Fatihah 2. Al-Baqarah 3. Ale-Imran 4. An-Nisa' 5. Al-Ma'idah 6. Al-An`am 7. Al-A`raf 8. Al-Anfal 9. At-Taubah 10. Yunus 11. Hud 12. Yusuf 13. Ar-Ra`d 14. Ibrahim 15. Al-Hijr 16. An-Nahl 17. Al-Isra 18. Al-Kahf 19. Maryam 20. Ta Ha 21. Al-Anbiya' 22. Al-Hajj 23. Al-Mu'minun 24. An-Nur 25. Al-Furqan 26. Ash-Shu`ara' 27. An-Naml 28. Al-Qasas 29. Al-`Ankabut 30. Ar-Rum 31. Luqman 32. As-Sajdah 33. Al-Ahzab 34. Saba' 35. Fatir 36. Ya Sin 37. As-Saffat 38. Sad 39. Az-Zumar 40. Ghafir 41. Fussilat 42. Ash-Shura 43. Az-Zukhruf 44. Ad-Dukhan 45. Al-Jathiyah 46. Al-Ahqaf 47. Muhammad 48. Al-Fath 49. Al-Hujurat 50. Qaf 51. Ad-Dhariyat 52. At-Tur 53. An-Najm 54. Al-Qamar 55. Ar-Rahman 56. Al-Waqi`ah 57. Al-Hadid 58. Al-Mujadilah 59. Al-Hashr 60. Al-Mumtahanah 61. As-Saff 62. Al-Jumu`ah 63. Al-Munafiqun 64. At-Taghabun 65. At-Talaq 66. At-Tahrim 67. Al-Mulk 68. Al-Qalam 69. Al-Haqqah 70. Al-Ma`arij 71. Nuh 72. Al-Jinn 73. Al-Muzammil 74. Al-Mudathir 75. Al-Qiyamah 76. Al-Insan 77. Al-Mursalat 78. An-Naba' 79. An-Nazi`at 80. `Abasa 81. At-Takwir 82. Al-Infitar 83. Al-Mutaffifeen 84. Al-Inshiqaq 85. Al-Buruj 86. At-Tariq 87. Al-A`la 88. Al-Ghashiya 89. Al-Fajr 90. Al-Balad 91. Ash-Shams 92. Al-Layl 93. Ad-Duha 94. Ash-Sharh 95. At-Tin 96. Al-`Alaq 97. Al-Qadr 98. Al-Bayyinah 99. Az-Zalzala 100. Al-`Adiyat 101. Al-Qari`ah 102. At-Takathur 103. Al-`Asr 104. Al-Humazah 105. Al-Fil 106. Al-Quraish 107. Al-Ma`un 108. Al-Kauthar 109. Al-Kafirun 110. An-Nasr 111. Al-Masad 112. Al-Ikhlas 113. Al-Falaq 114. An-Nas Select Ayat
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Ale-Imran
an-Nisa'
al-Hajj
al-Baqarah: 33
al-Fatihah: 1
al-Baqarah: 1
at-Taubah: 5
al-A`raf: 31
al-Kahf: 2
al-Baqarah: 233
an-Nisa': 1
Manuscripts and Inscriptions A complete listing of all Surahs of the Qur'an
1st Century Hijrah (7th Century CE)
by Uthmani Mushaf, Topkapi
Surah az-Zalzalah starts at the bottom of the page. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred...read more
by Tuang Guru, South Africa
Surah al-Isra. Imam Abdullah Qadi Abdus Salam, who was also known as Tuang Guru, wrote the entire Qur'an from memory whilst he was imprisoned. He was...read more
Ottoman Banner of War
by Ottoman, Turkey
Surah al-Fath 48:1. ...read more
7th Century H (14th Century CE)
by Egypt
Surah 24:35 - Ayat an-Nur. Two glass mosque lamps with globular body and flared neck, decorated with enamel and gilt. Around the body is a bold inscri...read more
809 H (1406)
by Ottoman?
Surah ar-Rahman 55:26. This gravestone shows a shallow niche topped by a muqarnas design. Within, a worn cursive inscription gives the name of the dec...read more
825 H (1422 CE)
by Mamluki Period
End of Surah al-Fatir and start of Surah Yasin. A copy of the second half of the Holy Qur'an. It was an endowment (waqf) to al-Aqsa Mosque in Jerusale...read more
Inscriptions include, Surah 24:35 (Ayat an-Nur), Surah 2:255 (Ayat al-Kursi), 3:26-27, 26:192-9, 56:78-79, 92:5 and 59:22-4. Made by Muhammad ibn S...read more
Surah as-Saffat 37:22. ...read more
7th/8th Century H (13th/14th CE)
by Andalus, Spain
Surah az-Zumar 39. ...read more
654–842 H (1256–1438 CE)
by Mihrab from the Damsakoy Task?npasa Mosque
Surah 59:22 and 46:31. The mihrab is made of walnut. The geometric and vegetal motifs and inscriptions which make up its decoration are executed wit...read more
by Seljuk, Turkey
Surah al-Ankabut 29:45, "Recite, what has been revealed to you of the Book and establish prayer. Indeed, prayer prohibits immorality and wrongdoing, a...read more
6th Century H (12th century)
by Aleppo, Syria
Surah al-Baqarah 2:255 - Ayat al-Kursi. This large rectangular profusely decorated stone cenotaph belongs to a type that was widely distributed in Syr...read more
by Seville (Ishbiliya), Spain
The object is an Islamic gold dinar of the Almoravid Amir Ali bin Yusuf (r. AH 500–37 / AD 1106–43). The inscription within the obverse central fi...read more
by Andalus, Spain - (possibly)
This rectangular marble slab is carved with an 11-line inscription that is framed within a carved, horseshoe-shaped, pillared arch. Palmettes decorate...read more
3rd Century Hijrah (9th CE)
by Abbasid. Masjid al-Aqsa, Jerusalem
End of Surah al-Ma'un, al-Kawthar and al-Kafirun. A manuscript comprising the second half of the Holy Qur'an that was placed for recitation in the Dom...read more
4th Century Hijrah (10th CE)
by Abbasid (possibly)
Surah an-Nisa 135-137. ...read more
6th-7th Century H (12/13th CE)
by Abbasid
Surah Hud 11:40. ...read more
by Ibn al-Bawwab, Abbasid
End of Surah ash-Shams, al-Layl, ad-Dhuha and al-Inshirah. Both the calligraphy and the illumination of this Qur'an are the work of Abu'l-Hasan Al...read more
Surah al-Fatihah and start of al-Baqarah. Both the calligraphy and the illumination of this Qur'an are the work of Abu'l-Hasan Ali (d. AD 1022), w...read more
91 H (710 CE)
by Silver Dirham, Ummayad
Part of Surah al-Ikhlas 112 and Surah at-Tawbah 9:33. The central inscription reads 'Allâh ahad Allâh al-samad lam yalid wa lam yulad wa lam yakun...read more
8th century CE
by Amman, Jordan
Surah al-Baqarah 2:255. Ayat al-Kursi. The inscription stone was found in 1958 in the course of a rescue excavation carried out by the Department of A...read more
1005 H (1596 CE)
by Sudan or Sub Saharan
End of Surah Maryam and start of Surah Taha. ...read more
Surah al-Fatihah and start of Surah al-Baqarah. ...read more
1247 AH (1831 CE)
by Daghestan, Central Asia
End of Surah al-Buruj, at-Tariq and al-A'la. This is a rare large Daghestan Qur'an. The first 2 pages are water painted with various colors. This Qur'...read more
Surah al-Fatihah. This is a rare large Daghestan Qur'an. The first 2 pages are water painted with various colors. This Qur'an is copied by Muhammad in...read more
by Syria, Levant
End of Surah al-An'am and start of Surah al-A'raf. Antique Levantine Quran 1130 AH (1717 CE), copyist: Muhammad Hussain....read more
Surah al-Fatihah and al-Baqarah. Antique Levantine Quran 1130 AH (1717 CE), copyist: Muhammad Hussain....read more
by Yemen
Surah ash-Shu'ara 26:45 onward. From Yemen 986 H (1578 CE)....read more
Surah al-Baqarah. From Yemen 986 H (1578 CE)...read more
by Kashmiri, Mughal Period, India
Surah al-Falaq and an-Nas. This is a beautiful old handwritten Quran originated from Kashmir during Mughal era. The first 2 pages , the 2 in the middl...read more
Surah al-Qiyamah and Surah al-Insan. This is a beautiful old handwritten Quran originated from Kashmir during Mughal era. The first 2 pages , the 2 in...read more
Surah al-Isra. This is a beautiful old handwritten Qur'an originated from Kashmir during Mughal era. The first 2 pages , the 2 in the middle & the las...read more
Surah al-Fatihah and al-Baqarah. This is a beautiful old handwritten Qur'an originated from Kashmir during Mughal era. The first 2 pages , the 2 in th...read more
by Morroco
End of Surah Maryam and start of Surah Taha. Copyist: Sayed Bir Muhammad Anzud....read more
End of Surah Maryam and start of Surah Taha. Copyist: Sayed Bir Muhammad Anzud...read more
18th/19th century CE
by Sulawesi Quran,South East Asia
Surah al-Kahf 18....read more
by Javanese, Java Island
Surah al-Kahf 18. This is a beautifully written Quran manuscript originated from South East Asia. The centrepieces design is typical of Java island In...read more
by Malay/Javanese.
End of Surah al-Isra and start of Surah al-Kahf. ...read more
by India
Surah al-Ikhlas, al-Falaq and an-Nas. Antique Indian Qur'an (18-19th Century)....read more
Surah Taha 20:126. From the Indian region. ...read more
Surah al-Fatihah and start of al-Baqarah from Indian region....read more
18th century CE
Surah al-Fatihah and start of al-Baqarah....read more
Surah al-Qiyamah and start of Surah al-Insan. ...read more
by Chinese Quran Ming/Qing Dynasty
End of Surah al-Fatihah and start of Surah al-Baqarah. Antique Chinese Quran Ming/Qing Dynasty ( 18th Century)...read more
End of Surah al-Fatihah and start of Surah al-Baqarah. Antique Chinese Quran Ming/Qing Dynasty ( 18th Century)....read more
Complete Qur'an in Ottoman period as a scroll. Copyist: Muhammad Abdul Shahid...read more
1250-1517 CE
End of Surah al-Munafiqun 63. ...read more
by Mamluki Period,
Surah at-Taghabun 64. ...read more
by Mamluki Period (possibly)
Surah ad-Dukhan 44:19. ...read more
Surah al-Falaq and an-Nas. Copyist : Hafiz Ibrahim Al Diyarbakir. The borders and headings are gold gilded with 24K gold....read more
by Seljuk Qur'an
Surah al-Hijr 15. Antique Seljuq Seljuk Quran Bifolio 11th Century....read more
by Malay, South East Asia.
Surah al-Kahf 18. ...read more
by Turkey
End of Surah al-Qalam 68. ...read more
Surah al-Haqqah 69. ...read more
End of Surah al-Inshiqaq 84. ...read more
Surah al-Buruj 85. ...read more
by Somali Qur'an
Surah al-A'raf 7:171 on the left image of the Mushaf. These are 7 volumes of Qur'an from Somalia....read more
Surah al-A'raf 7:171 on the left image of the Mushaf. These are 7 volumes of Qur'an from Somalia. ...read more
by Makkah
Surah an-Nisa 4:87. A Quran rock inscription near Makkah from the year 80 AH....read more
by Egypt or Syria, Christies, London.
Surah 2:255. Ayat al-Kursi inscribed on a silver and gold inlaid brass Qur'an box. Of square form on four rounded corner legs with coffered lid, diamo...read more
by Taj Mahal, India
Inscribed on the Taj Mahal in India. ...read more
by Mamluki Period, Egypt
End of Surah Saba 34. During the reign of the Mamluk dynasty in Egypt and Syria (1250-1517), the production of Korans reached new levels of refinement...read more
by Persia
Surah al-Ankabut 29:25 onward. The 15th century Persian prince Baysunqur ibn Shahrukh, famous as a bibliophile, is probably the calligrapher of a larg...read more
End of Surah Yunus and start of Surah Hud. This page in vigorous Maghribi hand, is from a Qur'an probably copied in the 13th century in the Muslim Kin...read more
by Xian Mosque, China
Surah an-Najm 53:62 appears faintly at the bottom. Like the Great Mosques at Hangzhou, Quanzhou and Guangzhou, the Great Mosque of Xian is thought to ...read more
by Bara Gumbad Complex, Delhi
Surah al-Hashr 59:21 onward, "If We had sent down this Qur'an upon a mountain, you would have seen it humbled and coming apart from fear of Allah. And...read more
Surah al-Hujarat 49:15 onward on outside arch starting from right hand side. "The believers are only the ones who have believed in Allah and His Messe...read more
Surah adh-Dhariyat 51:58 on inside arch. "Indeed, it is Allah who is the [continual] Provider, the firm possessor of strength." Bara Gumbad is an ...read more
Surah al-Ikhlas ontop right and left circles. Surah Yusuf 12:16 onward inscribed along arches. Inscription includes 12:16 onward, "And they came to th...read more
by Wazir Khan Masjid, Lahore
Surah al-Ikhlas 112. The Wazir Khan Mosque is 17th century mosque located in the city of Lahore, capital of the Pakistani province of Punjab. The mosq...read more
by Blue Mosque, Turkey
Surah an-Nisa 4:103. "Indeed, prayer has been decreed upon the believers a decree of specified times.". Inscribed on the Blue Mosque, Turkey. Commissi...read more
Surah al-Baqarah 2:238. " Maintain with care the [obligatory] prayers and [in particular] the middle prayer....". Inscribed on the Blue Mosque, Turkey...read more
by India, British Library
Surah ale-Imran 3:185. Inscription Translation: "In the name of God, the Compassionate, the Merciful. 'Every soul shall taste death; and only on the...read more
Surah al-Alaq. Leaf from the Qur'an, Egypt, 1400-1500....read more
Surah at-Tin. Leaf from the Qur'an, Egypt, 1400-1500. ...read more
Surah al-Baqarah 2:134. Chinese Quran Ming/Qing Dynasty ( 18th Century)....read more
by Marrakesh, Morocco
Surah ale-Imran 3:200...read more
3rd /4th Century Hijrah
by University of Cambridge Library
Surah an-Nahl 16:9 onward. Manuscript ID:MS Or.476 ...read more
Surah al-Kahf 18:2 onward. Manuscript ID:MS Or.476 ...read more
Surah Ibrahim 14: 49 onward. Manuscript ID:MS Or.476. ...read more
Surah Maryam 19:1 onward. Manuscript ID:MS Or.771...read more
Surah al-Hajj 22:1 onward. Manuscript ID:MS Or.771...read more
Surah ar-Rahman 55:1 onward. Manuscript ID:MS Or.771...read more
Surah al-Waqiah 56:1 onward. Manuscript ID:MS Or.771...read more
Surah al-Hadeed 57:1 onward. Manuscript ID:MS Or.771...read more
Surah al-Mujadilah 58:22. Manuscript ID:MS Or.771...read more
Surah al-Hashr 59:1 onward. Manuscript ID:MS Or.771 ...read more
Surah al-Ankabut 29:44 onwards. Manuscript ID: MS Add.1144. https://cudl.lib.cam.ac.uk/view/MS-ADD-01144/4...read more
Surah Luqman 31:25 onwards. Manuscript ID:MS Add.1144. https://cudl.lib.cam.ac.uk/view/MS-ADD-01144/20 ...read more
4th Century Hijrah
Surah al-Isra 17:3 onwards. https://cudl.lib.cam.ac.uk/view/MS-ADD-01134/3...read more
by Abbasid Qur'an, University of Cambridge Library
Surah Ale-Imran 3:168 onwards. Abbasid Qur'an (MS Add.1115) probably written in the third or fourth century A.H. / ninth or tenth century C.E, contain...read more
by Topkapi Museum, Istanbul, Turkey
Surah an-Nas 114:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah al-Falaq 113:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Ikhlas 112:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the...read more
Surah al-Masad 111:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah an-Nasr 110:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Kafirun 109:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
1st Century Hijrah
Surah al-Asr 108:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah al-Kawthar 107:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah al-Maun 106:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Quraish 105:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah al-Fil 104:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Humazah 103:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah at-Takathur 101:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at t...read more
Surah al-Qariah 100:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the...read more
Surah al-Zalzalah 98:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah al-Bayyinah 97:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah al-Qadr 94:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah al-Alaq 96:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah al-Tin 95:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Top...read more
Surah al-Insharah 94:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah ad-Dhuha 93:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Layl 92:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah ash-Shams 91:4 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Balad 90:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Fajr 89:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah al-Ghashiyah 88:6 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at t...read more
Surah al-A'la 87:4 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah al-Tariq 86:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Buruj 85:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Inshiqaaq 84:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at t...read more
Surah al-Mutafifeen 83:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at ...read more
Surah al-Infitar 82:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the...read more
Surah at-Takwir 81:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah Abbasa 80:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Top...read more
Surah an-Naziat 79:18 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the...read more
Surah an-Naba 78:24 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Mursalat 77:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah al-Insan 76:7 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Qiyamah 75:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the...read more
Surah al-Madathir 74:16 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at t...read more
Surah al-Muzammil 73:15 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at t...read more
Surah Jinn 72: onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Topkap...read more
Surah Nuh 71:2 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Topkap...read more
Surah al-Ma'raij 70:25 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah al-Haqqah 69:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Qalam 68:8 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Mulk 67:2 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah al-Tahrim 66:6 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Talaq 65:5 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Taghabun 64:3 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah al-Munafiqun 63:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at t...read more
Surah al-Jumuah 62:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Saff 61:2 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah al-Mumtahinah 60:9 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at ...read more
Surah al-Hashr 59:11 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Mujadilah 58:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at t...read more
Surah al-Hadid 57:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Waqiah 56:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah ar-Rahman 55:13 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the...read more
Surah al-Qamar 54:9 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah an-Najm 53:28 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Tur 52:21 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah adh-Dhariyat 51:13 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at ...read more
Surah Qaf 50:13 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Topka...read more
Surah al-Hujarat 49:14.The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Topkap...read more
Surah al-Hujarat 49:6 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the...read more
Surah al-Fath 48:15 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah Muhammad 47:2 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Ahqaf 46:8 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Jathiyah 45:13 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at t...read more
Surah al-Dhukhan 44:71 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah al-Zukhruf 43:2 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the...read more
Surah al-Shurah 42:8 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Fussilat 41:12 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at t...read more
Surah az-Zumar 39:67 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah Sad 38:44 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Topka...read more
Surah al-Saffaat 37:11 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah Yasin 36:29 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Top...read more
Surah al-Fatir 35:8 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah Saba 34:8 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Topka...read more
Surah al-Ahzab 33:14 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah as-Sajdah 32:13 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the...read more
Surah Luqman 31:4 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Top...read more
Surah al-Rum 30:9 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Top...read more
Surah al-29:55 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Topkap...read more
Surah al-Qasas 28:21 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Naml 27:33 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Shua'rah 26:10 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at t...read more
Surah al-Furqan 25:58 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the...read more
Surah an-Nur 24:36 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Muminun 23:25 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah al-Anbiyah 21:104 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at t...read more
Surah al-Anbiyah 21:22 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah Taha 20:65 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Topk...read more
Surah Maryam 19:98 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah al-Kahf 18:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah al-Isra 17:12 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah an-Nahl 16:23 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah al-Hijr 15:19 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah Ibrahim 14:25 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah ar-Ra'd 13:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah Yusuf 12:9 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Topk...read more
Surah Hud 11:27 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Topka...read more
Surah Yunus 10:87 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Top...read more
Surah al-Anfal 8:5 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah al-A'raf 7:138 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-An'am 6:2 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah al-Maidah 5:59 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Maidah 5:8 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the T...read more
Surah an-Nisa 4:84 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the To...read more
Surah an-Nisa 4:1 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the Top...read more
Surah ale-Imran 3:190 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the...read more
Surah ale-Imran 3:137 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah ale-Imran 3:48 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at the ...read more
Surah al-Baqarah 2:250 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
Surah al-Baqarah 2:121 onward. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at t...read more
Surah al-Baqarah 2:42 onwards. The Topkapi manuscript, which is generally attributed to Caliph Uthman, is preserved at the Sacred Relics Section at th...read more
by Maghribi Qur'an
Surah al-Isra. Fragment of a Maghribi Qur'?n probably written in the fourth century A.H. / tenth century C.E, containing verses 16-128 from Sura al-Na...read more
Surah an-Nahl 16:66 onwards. Fragment of a Maghribi Qur'?n probably written in the fourth century A.H. / tenth century C.E, containing verses 16-128 f...read more
3rd Century Hijrah
End of Surah al-Anfal and start of Surah at-Tawbah. https://cudl.lib.cam.ac.uk/view/MS-ADD-01126/8...read more
Surah an-Nisa 4:135. https://cudl.lib.cam.ac.uk/view/MS-ADD-01119/3...read more
Surah al-Qamar 54:2. https://cudl.lib.cam.ac.uk/view/MS-OR-00770/61...read more
Surah an-Najm 53:53. https://cudl.lib.cam.ac.uk/view/MS-OR-00770/58...read more
Surah at-Tur 52:1. https://cudl.lib.cam.ac.uk/view/MS-OR-00770/16...read more
Surah adh-Dhariyat 51:55. https://cudl.lib.cam.ac.uk/view/MS-OR-00770/11...read more
Surah al-Furqan 25:1. Fragments of an Abbasid Qur?an (probably third century A.H. / ninth century C.E.), containing verses from the Sura al-Mu?minun, ...read more
Surah Nur 24:35. Fragments of an Abbasid Qur??n (probably third century A.H. / ninth century C.E.), containing verses from the Sura al-Mu?min?n (???? ...read more
This page has part of Surah al-Mu'minun 23: 11-14. Fragments of an Abbasid Qur??n (probably third century A.H. / ninth century C.E.), containing verse...read more
Surah Ale-Imran 3:71. ...read more
2nd / 3rd Century of Hijrah
Surah al-Ahzab and Surah as-Saba....read more
Surah al-Ahzab and Surah as-Saba. ...read more
2nd Century of Hijrah
by Cambridge University Library
Surah al-Anfal 10-72. 1 bifolio Leaf height: 37.5 cm, width: 27.5 cm. Written height: 37.5 cm, width: 27.5 cm....read more
Mamluki Period, Egypt...read more
1300-1500 AD
by Minassian Collection
Surah as-Sajdah. ...read more
704-705 H (1304-1306 AD)
by Sultan Baybar's Qur'an, British Library, London
Surah al-Baqarah: Ayat ul Kursi 2:255. Sultan Baybars' Qur'an is one of the most magnificent Qur'ans in the British Library. Produced in Cairo in seve...read more
by Sultan Baybar's Qur;an, British Library, London
Surah al-Fatihah. Sultan Baybars' Qur'an is one of the most magnificent Qur'ans in the British Library. Produced in Cairo in seven volumes between 130...read more
Surah at-Tahrim and Surah Mulk. This crisp and elegant Qur'an from India of the Delhi Sultans has Persian translations discreetly inserted between Ara...read more
by Granada, Spain, British Library
Surah an-Naml - Surah al-Qasas. Origin of manuscript is from Spain. Current location is the British Library. ...read more
Surah an-Naml - Surah al-Qasas. ...read more
8th century AD
by British Library, London
Surah Yusuf. The British Library's oldest Qur'an manuscript....read more
The rim of this lamp bears an inscription from the Surah al-Nur (24), verse 35, 'God is the Light of the heavens and the earth. The parable of His L...read more
207 AH (822–3 AD)
by Abbasid Gold Coin, Khalili Collection, London
Surah ar-Rum 4 and 5 in part. Inscription reads, la ilaha illa Allah wahdahu la sharika lahu; inner margin: bism Allah, followed by denomination and ...read more
77 AH (697 AD)
by Umayyad Gold Dinar, Khalili Collection
Islamic gold coin. Inscription reads la ilaha illa Allah wadahu la sharika lahu; margin: Muhammad rasul Allah, followed by surah al-Tawbah (9), verse...read more
Islamic gold coin. Surah al-Ikhlas, verses 1–3; margin: bism Allah, followed by denomination and date....read more
1300–1350 AD
by Possibly Yemen, Khalili Collection
Surah Luqman 33 to Surah as-Sajdah 7. The lay-out of the text is impressive: the top and bottom lines of each page are in black muhaqqaq outlined in g...read more
700 AH (1300–1 AD)
by Iraq, Khalili Collection, London
Surah al-Fatihah and al-Baqarah. Ink, gold and opaque watercolour on paper; lmain text in naskh script, incidentals in thulth and Kufic;13 lines to th...read more
by North Africa, Khalili Collection, London
Surah al-Mudathir 55 to Surah al-Qiyamah 19. Ink, gold and opaque watercolour on vellum - copied in maghribi script; 7 lines to the page....read more
Late 9th – early 10th century AD
by Khalili Collection, London
Surah an-Nisa 66-9. The vocalization is indicated by red dots, but the green diacriticals are later additions, probably when the script had become so ...read more
Early 11th century AD
Surah Saba 22. This pages is from one of the grandest Qur'ans to survive from the Muslim Middle Ages. The script is similar to that of a famous Qur�...read more
Surah al-Jathiyah 37 - Surah al-Ahqaf 10. Ink, gold and opaque watercolour on vellum copied in Kufic script; 15 lines to a page....read more
Surah al-Jathiyah 37 - Surah al-Ahqaf 10. Ink, gold and opaque watercolour on vellum copied in Kufic script; 15 lines to the page....read more
Early 8th century AD
Surah Hud 14-24. ...read more
Surah Hud 14-24....read more
Late 8th century AD
Surah Yunus 17-27. The text is written in a characteristically rather thick, early Abbasid hand, specimens of which are represented in the historic co...read more
by Tashkent, Uzbekistan
Surah 21:64-68. Approximately one third of the copy from which this folio originates, the largest vellum Qur'an known, is in Tashkent, the capital o...read more
by San'a, Yemen
End of Surah an-Nisa and start of Surah al-Maidah. This manuscript was found in the Great Mosque in Sana, Yemen. http://www.islamic-awareness.org/...read more
Surah 17:7 – 17:13. This manuscript was found in the Great Mosque in Sana, Yemen. http://www.islamic-awareness.org/Quran/Text/Mss/yem2a.html...read more
Surah 5:72 – 5:80. This manuscript was found in the Great Mosque in Sana, Yemen. http://www.islamic-awareness.org/Quran/Text/Mss/yem1l.html...read more
Surah 20:127 – 21:15. This manuscript was found in the Great Mosque in Sana, Yemen. http://www.islamic-awareness.org/Quran/Text/Mss/yem1j.html...read more
Surah 20:75 – 20:98. This manuscript was found in the Great Mosque in Sana, Yemen. http://www.islamic-awareness.org/Quran/Text/Mss/yem1j.html...read more
1st century / 2nd century of Hijrah
by Sana, Yemen
Surah an-Najm 53:25 – 54:1. This manuscript was found in the Great Mosque in Sana, Yemen....read more
by Codex Topkapi Sarayi Medina, Turkey
Surah al-al-S?affat, verses 169-182 to Surah S?ad, verses 1-5. The earliest photograph of this manuscript appeared in Bergstrasser and Pretzl's Die Ge...read more
Surah al-S?affat, verses 121-147. The earliest photograph of this manuscript appeared in Bergstrasser and Pretzl's Die Geschichte Des Qorantexts in 19...read more
Surah Yunus, verses 13-20. The earliest photograph of this manuscript appeared in Bergstrasser and Pretzl's Die Geschichte Des Qorantexts in 1936. How...read more
Surah Tawbah, verses 115-120. The earliest photograph of this manuscript appeared in Bergstrasser and Pretzl's Die Geschichte Des Qorantexts in 1936. ...read more
Late 1st century / 2nd century of Hijrah
Surah al-A?raf, verses 44-51. The earliest photograph of this manuscript appeared in Bergstrasser and Pretzl's Die Geschichte Des Qorantexts in 1936. ...read more
Late 1st century /2nd century of Hijrah
Surah al-Anfal, verses 60-66. The earliest photograph of this manuscript appeared in Bergstrasser and Pretzl's Die Geschichte Des Qorantexts in 1936. ...read more
Surah al-A'raf, verses 20-28. The earliest photograph of this manuscript appeared in Bergstrasser and Pretzl's Die Geschichte Des Qorantexts in 1936. ...read more
1st century / 2nd century of Hijra.
by Codex Topkap? Saray? Medina, Turkey
1st century / early 2nd century of Hijra.
End of al-Fath and start of Surah al-Hujarat. Commonly referred to as 'Mushaf of Ali ibn Abi Talib'. Did this Qur'an belong to him? The answer is no. ...read more
by Cairo, Egypt
Surah al-Isra part of verse 110 to the end, and Surah al-Kahf - from the beginning until part of verse 5. The manuscript was kept in the special colle...read more
by UNESCO - Sana, Yemen
Surah 42:49 - 42:53; 43:1 - 43:13. The folios have the approximate dimensions of 33.5 cm (height) x 26.0 cms (width) http://www.islamic-awareness.o...read more
Surah 19:89 – 20:40. The folios have the approximate dimensions of 42.0 cm (height) x 29.0 cms (width) http://www.islamic-awareness.org/Quran/Tex...read more
Surah 3:45 – 3:55. The folios have the approximate dimensions of 42.0 cm (height) x 29.0 cms (width) http://www.islamic-awareness.org/Quran/Text/...read more
by Bibliotheque Nationale, Paris
Surah 14:45 - 14:52; 15:1 - 15:7. François Déroche was the first person to give a brief description in his handlist of manuscripts at the Bibliothè...read more
by Universitatsbibliothek Tubingen, Germany
Surah 21:105 -21:112; 22:1-22:4. Whilst serving in his position as first Prussian Consul to Damascus in the middle of the 19th century, Johann Gottfri...read more
by "Damascus Umayyad Qur'an" TIEM ?E 321
Surah 31:33 – 32:4. Deroche arrived at this dating by studying illumination, script, the 10-bifolio quire structure, direct relation of the ornament...read more
by Ms. Qaf 47
Surah 5:18-28. This manuscript was subject to radiocarbon analysis under the auspices of the Corpus Coranicum project and has been dated to 606-652 CE...read more
by Dar al-Kutub al-Misriyya, Cairo
by Tareq Rajab Museum, Kuwait
Surah 5:18-29. Dimension 49.4 cm x 39 cm. ...read more
Second half of 1st century Hijra / late 7th or early 8th century CE
by 'Umayyad' fragment in a private collection
Surah Hud Surah 11:73-95. Additional and corroborating evidence was obtained by radiocarbon dating the fragment at University of Oxford. Two calibrati...read more
Late 1st century Hijrah
by Beit al-Qur'an, Bahrain
Surah 5:7 - 5:12. A rare fragment of a Qur'anic manuscript written on parchment in this early form of the kufic script, most probably developed in Mad...read more
by Codex Parisino-Petropolitanus
Surah 43:38 - 43:58. This manuscript was kept at the Amr b. al-Ass mosque, Fustat until, at the end of the 18th century, a member of French expedition...read more
Surah 6:68 - 6:76. This manuscript was kept at the Amr b. al-Ass mosque, Fustat until, at the end of the 18th century, a member of French expedition t...read more
Surah 4:3 - 4:9 - This manuscript was kept at the Amr b. al-Ass mosque, Fust?at? until, at the end of the 18th century, a member of French expedition ...read more
This manuscript was kept at the Amr b. al-Ass mosque, Fust?at? until, at the end of the 18th century, a member of French expedition to Egypt, Jean-Jos...read more
Late 1st century / early 2nd century of Hijra.
by Turkish and Islamic Art Museum, Istanbul, Turkey.
Displays part of 2:On the last folio (no. 439) of the manuscript is written in kufic script "katabahu Uthman bin Affan fi sanat thalathyn" ("Uth...read more
Folio 253b showing end of Surah 28: al-Qas?as? and beginning of Surah 29: al-Ankab?t. Mehmed Ali Pasha, Governor of Egypt, sent this mus?h?af to t...read more
Mehmed Ali Pasha, Governor of Egypt, sent this mus?h?af to the Ottoman Sultan Mahmud II as a gift in 1226 AH / 1811 CE. A note in the beginning of the...read more
Surah al-Baqarah
Uthmani Mushaf, Topkapi, Turkey....read more


Africa Future is a humanitarian non governmental organization that fights poverty in Africa, mostly in Cameroon.
- Attentive to a holistic approach, of the human being, (body mind and soul), Africa future accompanies those of its people truly decided to rally in their own struggle to pull out of their misery.
Supported exclusively by volunteers in Germany, Canada and France, Africa Future counts on its 100 salaried employees in Cameroon to provide livelihood to 700 persons.
Africa Future signed an agreement with the government of the Republic of Cameroon, establishing a regional office for Central Africa in Yaoundé. To this day Africa Future has intervened on punctual projects in the Democratic Republic of Congo and in Angola but its main activity is in Cameroon.
AFRICA FUTURE, what achievements ?
MORE THAN 300 PROJECTS !
AFRICA FUTURE, since when ?
Since February 15, 1985, Africa Future totals 28 years of existence.
AFRICA FUTURE, operation costs ?
Reduced to a minimum, the operating costs for AFRICA FUTURE, as « en occident » does not exceed 7%.
The association is supported exclusively by volunteers. Its only costs are fixed costs such as rent, postage, publicity, etc.


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text:
Peter Jackson talks about the state of the film industry!
A few words of wisdom and insight from a man who can make big budget fantasy epics and small sci-fi films because he loves the process...from writing, filming, editing...all from the safe confines of New Zealand, thousands of miles away from Hollywood.
It's interesting because the film industry is in a really weird position at the moment. If I think about it too much, I get depressed because I don't think it's in a very good state, and we're all responsible for that; I'm not pointing fingers because it's easy to say "Oh, look at what the studios are doing." But it's the filmmakers as much as anybody; it's the authors of the of the movies, the writers and the directors. We're all got to be doing our part. And I think there's so much nervousness about dropping attendance, or so people say, and plummeting DVD sales that suddenly everyone is working from a defensive position. The creativity that's going into films is almost like playing a defensive game, instead of playing an attacking game.
And I think if anything, DISTRICT 9 has an attack element to it. We're basically saying, "We don't give a stuff about the risk; we don't care about how many people buy the DVDs." We just want to make a cool movie, which is great, and we were able to have that spirit. But I think that's in danger of getting lost, certainly in the larger-budget films. Everyone wants to create these little safe harbors, which are franchises. And you create your franchise, which is going to lead to three or four movies, and it'll all go to the bottom line and that goes to Wall Street. It's all this corporate stuff, and the film industry and the world of finance and Wall Street have all kind of blended in a way that's not good for creativity at the moment. Now, let's hope it's a cycle, because everything in the film industry seems to be a cyclic thing and hopefully we're just going through a bad patch. I think it's up to everybody, the filmmakers and the studios, to get a little bit more courage and fight against it, because I think we've all given into it a bit.
Source: Ain't It Cool News
Authored by Anonymous 0 opinion(s)
OSS 117 - Rio De Repond Plus...
Secret agent Hubert Bonisseur de La Bath returns in OSS 117 - Lost in Rio, the follow-up to 2006's OSS 117: Cairo, Nest of Spies. One might think you have seen this kind of spy spoof before, notably in the Austin Powers series, but this is where OSS 117 distinguishes itself. It is not a spoof or parody of the genre, but an irreverent homage to the era itself. The production design and execution is intentionally aiming for a look that make these films appear as long lost classics rather than new films, while French comedian Jean Dujardin portrays a "man" of the era with a self-confident manner that sheds a glaring light on every negative stereotype of machismo common in the 1960s. Dujardin's La Bath is actually quite a capable spy, but his oblivious demeanor to changing social attitudes with respect to race, gender, etc. is the source of the humor; the film may be exaggerating (but not by much), but is never tongue-in-cheek. Overall, it is a clever, breezy look back on a bygone era in a manner similar to how one may look at your high school yearbook—there are fond memories, but mixed with the mocking laughter at how ridiculous your former self appears to you now.
Also, make sure to check out the swinging official homepage for some groovy tunes and goodies.
Tags: Comedy, European Movies, Impressions, Trailer
Michel Gondry's film opens with a documentary about jazz musician Fats Waller relating his roots in the small town of Passaic, New Jersey and specifically a particular brownstone on one corner of the neighborhood. As you watch this documentary complete with file footage, it becomes more apparent that members of the film's cast seem to appear in the documentary, including the proprietor of Be Kind Rewind, an elderly gentleman who bares a remarkable resemblance to Danny Glover. Without making much ado over this "poorly concealed" fact, the documentary footage ends as the film proper begins.
This documentary we are introduced to actually serves as the backbone both for the characters' story and the overall narrative. It returns every once in a while acting as "Greek Chorus" offering parallels that serve as commentary on the situation of the characters. As we learn of Mr. Fletcher's (Danny Glover) dilemma of trying to keep his small, VHS rental video store afloat, one of the film's important metaphors comes to light. Be Kind Rewind is a small business run by one man that offers personal service and a distinctive film selection in an ever increasing landscape of chain DVD rental stores that cater to the lowest common denominator. Craft and some may say "taste" are slowly succumbing to the strengthening chokehold of marketing and convention. One of the issues of contemporary film, at least in the sense of the general landscape, challenging the industry today is the increasing loss of originality and individuality of films released, particularly by the major studios. Tent pole projects practically steamroll over smaller films who can not compete with the marketing war chest it takes these days to attract a substantial market share. At the same time, so-called "producers" rely more and more on gimmicks, gags, and effects as a means to dazzle audiences rather than actually tell them a story; in turn, the viewing public's expectations decrease as the ease with which they are entertained increases. This is plainly stated when Mr. Fletcher is told by a fellow Fats Waller devotee to adapt to the times, to cater to the masses as a means to save his shop.
It is therefore good fortune that the film smoothly and quickly moves to the central dilemma on which the film is marketed. Left in charge by Mr. Fletcher who goes away on a trip to both celebrate the anniversary of Fats Waller's death and go on a fact finding mission to assess the competition, Mike (Mos Def) is faced the daunting task of recreating the store's catalog of VHS films which have been erased by Jerry (Jack Black) in a fantastical conceit that is easy to swallow thanks to the human underpinnings of why Mike must keep up all appearances while Mr. Fletcher is away. Mos Def proves capable in delivering a subdued and simple performance in his portrayal of Mike, particularly when it comes to his respect for Mr. Fletcher as both a manager and a surrogate father figure. Special mention must also go to Jack Black for turning in a much more ensemble performance one might not expect when considering his other works as lead. Here, he allows other actors to have the scene, generously allowing the entire cast an opportunity to "be" while he accents their performances. Jack Black fans may be disappointed that the comedy of Be Kind Rewind is much more understated than say, School of Rock.
This is particularly important when the pair begin the task of recreating Ghost Busters to fulfill a customer's request. The humor should be grounded in their attempts to remake the film's famous scenes with the limited resources and time they possess. Audiences laugh with their inventiveness rather than at individual antics. There is something quite satisfying in Mike and Jerry's solutions based on their memory of the film. With all manner of jury rigged contraptions, a shoulder-mounted VHS camera, and one take, they utilize perhaps a not-so-exaggerated guerilla filmmaking style to accomplish their goal.
In essence, Be Kind Rewind is writer/director Gondry's love letter to independent filmmaking as well as the filmmaking spirit. The plot device of trying to cover up the loss of the catalog is only a vehicle for the next metaphor of the film, that of creativity. Gondry sets up situations for the main characters to problem solve. As they take on their next recreation, there is great delight in witnessing what they do to cheaply and quickly film a hit buddy film set in Hong Kong. His subtle message is that passion is the first, most important ingredient in the filmmaking process drives even his own directorial style for the film. There is a naturalness to the style of the film that belies it's budget. There are not a lot of overly composed shots. In fact, some of the setups are somewhat "dirty" while framing is not heavily enforced on the actors. It seems Gondry was more interested in capturing the passion of Mike, Jerry, and the others they begin to inspire as their remakes become more popular than the originals, prompting neighborhood residents to join in the magic and joy of making films. This is best exemplified in a terrific one take shot of the community helping Mike and Jerry recreate several well-known films. Moving from one famous scene to the next, some of the simplest, practical, yet creative in-camera techniques used in films past are on parade; Gondry allows all the backstage trickery to be seen, for the cast and "crew" to frame-in, and the imperfections to show as this segment is not about the final product, but about how the final product came to be. It is perhaps his personal standing ovation to old-fashioned, homespun ingenuity that is slowly dying in a world where films are being written around effects shots.
Naturally, just as Mike and Jerry and their capable crew are reaching the pinnacles of success, with customers lining up outside the store, the party comes to an abrupt end in perhaps the weakest segment of the film. Now that the store is filled with "sweded" films (the term used to describe remaking films), this ultimately attracts the attention of the Hollywood studios and their lawyers, personified by Sigourney Weaver, who bring all manner of legalese, forms, and threats of grossly overestimated penalties to Mr. Fletcher just as he was seeing hope for his little shop. Ultimately, the issue of copyright and intellectual property would have had to be addressed in a film of this nature, however, Sigourney and company breeze in and out of the film so fast that it seems almost fruitless to have brought it up in the first place. Granted it was probably not Gondry's intention to debate this issue via allegory, but one can't help but wish for something a bit meatier than what was presented. Regardless, the air seems to have been let out of the bid to save Be Kind Rewind. However, the community rallies, intent on filming something original...for the shop, and for themselves. At this point the film nicely bookends with the beginning as the Fats Waller documentary returns. This time, however, the making of the documentary is revealed. The contributions by everyone in the neighborhood to the scenes previously interjected into the film show people of all walks of life providing their little touches of creativity, including how they achieved the hand-cranked camera effect for the file footage. There is energy in the air, and the neighborhood is alive. Bringing the community together is perhaps the film's most salient point. Though the impetus for making the film was for a charity screening to benefit Be Kind Rewind, Gondry clearly shows that the process of filmmaking has affected everyone in Passaic, or at least those within the area around the shop. When the "curtain" rises on the screening of the finished product and everyone's hard work, the satisfaction on people's faces represents that it is not about what can be gained from films, but from what stories or storytelling does for people. The format choice of VHS seems to be quite intentional and effective if parallels are to be drawn with the home movie. Home movies are personal storytelling and the passing on of history at its most basic and accessible to the general public. The documentary the community creates may not be factual with regards to history, but it is the history they believe in. It is the story they wish to tell.
The ending may be a bit of a conundrum after initial viewing. However, upon consideration, there is something appropriate about it and credit must be given to Gondry for avoiding a manufactured emotional moment no matter how "right" it might have been. As is, the film closes leaving the viewer with sensations of nostalgia, of wanting to visit old haunts, and wondering if things you remember are still there. Is Be Kind Rewind Video Store still there? Bittersweet perhaps, but a fitting cap to a film about the increasing loss of simplicity, with the hope that it is and can be kept alive...somewhere.
Tags: Review, Talent
Micmacs à tire-larigot
Say the words Jean-Pierre Jeunet and one word should come to mind: "fantasist." To say Jeunet builds worlds is an understatement, but what's more amazing about this director is his where he builds his worlds...right here on Earth. Yet, all of his films have a production design and atmosphere to them that can not be easily categorized by a particular time period or place unless he is specific about it, Amelie comes to mind. Even then, the next component that makes Jeunet's films so interesting and unique are the cast of characters that populate his stories. They are what breath life into his worlds. I think it is safe to say that he is one of a handful of filmmakers who can boldly and skillfully skirt the line of Surrealism and maintain a clear, cohesive narrative no matter how "odd" the situation or characters.
In his follow up to A Very Long Engagement, Jeunet returns to France, but a certainly a France different from the one one might visit. This time, the reported satire revolves around Bazil, a man with a bullet lodged in his head which causes some "unusual" effects. With his father, a bomb disposal expert, having been killed on the job in Morroco, Bazil now feels that he must topple two of the world's largest arms manufacturers to repay the lifetime of misery weapons have caused him and gathers a motley team of eccentrics to help accomplish his mission.
Source: Allocine France
There are actually eight teasers, each focusing on each character of this ensemble cast. You can watch them all at CineMovies.fr. The film definitely displays Jeunet's signature wry, observant humor found in Delicatessen and Amelie as well as the lush cinematography of Tetsuo Nagata. Though already in post-production, the film is unfortunately not set for release until 2010 which makes for a very long wait indeed for a chance to view the latest from this contemporary master.
Tags: European Movies, Impressions, Talent, Trailer
Is Moon an example of art house science fiction, or a throwback to sci-fi of years past? There are several points to both sides, but there is no arguing the quality of this haunting, understated film.
Moon is primarily a character study, that of astronaut and caretaker Sam Bell. Sam is the sole occupant of a mining station on Earth's moon, at which is produced a valuable energy source that has all but eliminated Earth's dependancy of fossil fuels. Sam is the one human required to maintain order and step up to fix any glitches or bugs in the mostly automated mining process. Sam's sole companion is GERTY, a computer artificial intelligence that runs the station as well as providing for Sam's basic needs. Due to continuing complications with the com system, Sam's communication with Earth has been primarily through recorded messages, and Gerty has been Sam's only "live" contact for some time.
As one might expect, there is a heightened sense of isolationism and early hints at Sam succumbing to some form of "space madness," his interactions with Gerty only fueling the mystery. But the mystery itself is exposed in short order, being merely the opening to a much deeper, unexpected conflict who's resolution develops into something staggeringly complex. This is where heart of the film takes hold as Sam struggles with his situation, as does Gerty. There are many elements evocative to sci-fi contemporaries 2001 and Solaris (the former being a rightfully lauded classic, the later (Soderbergh remake) highly under-appreciated).
It is hard to imagine the pressure placed on an actor to carry an entire film, yet the portrayal of Sam Bell by Sam Rockwell appears effortless. This could be due in part to sheer talent or an uncanny level of comfort with being in front of a camera, and is probably a bit of both. There are several Rockwell-isms that fans of his work will enjoy, altho the traversal of character that is employed over the duration of the film is pretty damn impressive. Kevin Spacey provides the cool, calm voice of Gerty with an unashamed channeling of Douglas Rain's HAL 9000. This in and of itself in execution is more like the comfort of a favored t-shirt rather than the clichéd gimmick it could have been, so Spacey does get some points for that.
Sam's moon base isolation is set in a non-defined future that helps the film gloss over some of the finer details, but sharp-eyed and attentive viewers are given enough snippets to do the math for an accurate date. The nebulous timeline was likely by design as to not lock in any specific technology that would distract us from the core story or inherently date the film. In fact true sci-fi aficionados would do best to leave their tech checks at the door, as Moon betrays most of what we know about existing communication, robotics, and artificial intelligence early on. Yet what is relayed in terms of futurism is done so as clean and minimalist. While this may seem like a potential bone of contention by the hardcore, how it is presented in the film succeeds in conveying Moon's surprisingly timeless charm. It's what gives Moon a fascinating feeling of a film out of time, by as much as twenty or thirty years. A long lost or forgotten sci-fi classic, if you will. Should this (hopefully) have been director Duncan Jones' intention, congratulations are in order.
Entertaining and thought-provoking, Moon is a rare offering amidst this summer's mindless blockbusters. Among those that are masquerading as science fiction, Moon shows how it's done.
Tags: Review, Sci-fi, Talent
Near Dark
On the left is the new DVD and Blu-ray cover for the cult classic vampire film, Near Dark, directed by Katheryn Bigelow. On the right is the original theatrical release poster. If you're thinking to yourself that these look like two completely different films, you wouldn't be erroneous in that train of thought.
However, when you see that the new key art for the home release looks suspiciously like this poster for the unexpectedly successful teen vampire film Twilight, then the reason for this disparity becomes more clear. Hoping to ride the wave of Twilight's popularity, Lion's Gate is releasing Near Dark with a marketing image that aims to attract Twilight's audience. Fans of the film, myself included, know that Near Dark is one of the great vampire films of all time. A wholly unique take on the often used (abused) film monster, introducing a family of hillbilly, RV dwelling vampires who ruthlessly hunt the open plains of the American Midwest. And though there is a love story, it's the central theme of embracing one's feral nature or succumbing to one's darkness that juxtaposes against the choice of "love" and "light." There is no romanticism, no couple fawning over each other; in fact these vampires don't even have pale skin nor do they ever bear fangs and yellow eyes! It is a gritty, dark and violent romp through vampirism starring James Cameron regulars such as Lance Henriksen, Bill Paxton, and Janet Goldstein. The film was made at a low budget, but it has stood the test of time only to be prostituted by Lion's Gate in order to attract a demographic who will be in for quite a shock once they see that Twilight is no Near Dark.
Tags: Hollywood, Home Release, Marketing
This will be one of the rare occasions when a post will be focused not on the film and its story, but on the the production of a film; in this case production design specifically. It is quite obvious what the intention of the filmmakers (i.e. producers/studio) when one views the trailer for this latest live-action adaptation of a popular property from the 80s. Any attempt at arguing for a much more substantial narrative is essentially a waste of time and energy. The film is designed to maximize opening day ticket sales by exploiting nostalgic memories of a much loved cartoon in people (men particularly) who are now in their 30s and 40s. The lure of blockbuster box-office returns based off a borrowed property is too tempting and as commented on earlier the viewing audience is far too easily "entertained" to demand originality and/or depth in a film of this nature.
What proves to be truly disappointing is the absolute lackluster production design that was approved by the director and all involved. Hollywood is prone to trends and ever since Tim Burton's Batman, black, leather-clad superheroes seem to be the only way Hollywood is able to visualize comic book characters. This was only reinforced more with the success of the Bryan Singer's X-men films in which a much more colorful palette in the comics was muted down to color accented black suits in the film versions. Despite early fan protests, the film adaptations of the costumes were so successful onscreen that they actually influenced the comic book versions post release of the films.
So, it stands to logic that the live-action version of the 80s "G.I. Joe" cartoon would also follow the same route. Take a look at the international poster for the film above. There is a substantial difference here that needs to be pointed out. Superheroes wear costumes as a method of disguise, an alter-ego with which they carry out their activities while living out another life as normal citizens. The members of G.I. Joe are military personnel. They do not wear costumes. Their outfits are a function of their occupation and the specializations within that occupation; they are also a reflection of the branch of the military to which they belong be it Army, Navy, Air Force or Marines. The concept of the original cartoon was an elite unit made of up soldiers from these branches, contributing to a much more effective fighting force that pooled their collective skills.
Compared to this package design for the DVD of the cartoon series, the failings of the film production design are quite obvious. Though G.I. Joe is a unified team, each member retains their individual identities and trademarks based on the military branch to which they belong as well as the specific skill set they bring to the team. One can not get any sense of this when looking at the film poster; in fact, it's even hard to tell who are the villains and who are the heroes. Obviously, the outfits of the cartoon characters would have to be adapted to film, but it seems so elementary that drawing on real military garment and uniforms from around the world and through various eras would produce much better results than completely black outfits that have no variation whatsoever among the individual characters.
I am sure the production team will have all manner of explanations as to why they took the design route seen in the film. Whatever those justifications may be, this short video produced by a figure manufacturer proves that A) It is possible to reproduce the look of the cartoon in live action; B) even without revealing any faces, anyone familiar with the cartoon can identify the characters just by their trademark costumes and C) the production design of the film was not even close in capturing the spirit of the original source. It's a telling sign when the deep pockets of Hollywood can be outdone by figure manufacturer with its heart in the right place. But I guess that's the point, isn't it?
Tags: Action, Impressions, Live-Action Adapt, Making Of
Peter Jackson talks about the state of the film i...

redpajama_set_name: RedPajamaCommonCrawl


text:
Housing Justice Advocates Land Trial Date
Story and photos by Pete Shaw
Local housing justice activists will go on trial in June for their attempts to help keep a foreclosed family in their home during an eviction in which police used pepper spray against protesters.
In October 2012, deputies from the Multnomah County Sheriff's Office (MCSO) and Portland police evicted Patricia Williams and Darren Johnson from their SE Portland home. When deputies arrived, a call was put out to the Rapid Response Network, and soon a crowd of over 50 housing justice activists and foreclosure resisters appeared to try and help Williams and Johnson remain in their home. Some of the crowd were pepper sprayed and warrants were issued for three of them.
Those three–Dustin Hawks, Itztli Nexcoyotl, and one who requested anonymity–later voluntarily appeared for arraignment and have been charged with interfering with a peace, parole, or probation officer, obstructing governmental or judicial administration, disorderly conduct in the second degree, criminal trespass in the second degree, and assault in the fourth degree. On Tuesday April 23 they appeared at a pretrial hearing. Another pretrial discovery hearing is set for May 21 at 9 a.m., with the trial beginning on June 24.
At the pretrial hearing, over 30 people accompanied the trio into the Multnomah County Courthouse, packing the courtroom and spilling over into the hallway. Following the hearing, they convened in Lownsdale Park for coffee and snacks and a brief rally provided by We Are Oregon.
"None of us by ourselves have much power," Nexcoyotl told the crowd. "That's why we need solidarity."
The most obvious display of that solidarity occurred on May Day last year nearly when over 200 community activists helped Alicia Jackson take back her home. Since then, twelve homes have been defended, and eleven of them are still being defended. People have risked arrest and chemical attacks by police because their neighbors are being evicted from their homes while the banks that caused the housing crisis make profits from foreclosed houses.
The movement has been persistent; the eleven home defenses are proof of that. Keeping people housed in the shadow of powerful state and banking interests is no mean feat. It requires many dedicated people. As in the case of the Williams and Johnson home, activists have not been willing to suffer defeat. Not long after Williams and Johnson were evicted, activists helped them take back their home. They remain in it today.
Commenting on the effectiveness of community supported foreclosure resistance, Nexcoyotl said, "When we get together like this–when we take collective action–we have an effect. Together, we can build a movement."
The housing justice movement has highlighted a vital difference between liberal politics-as-usual and direct action. The former involves petitioning, protesting, making phone calls, writing letters, voting and other approaches that are predicated upon reforming the social, economic, and political systems by using the tools of those systems. These are certainly worthwhile activities and goals, but the people who are losing their homes do not have time to wait. The housing justice movement takes matters into its own hands. Doors open as well as close, and people forced out of their homes can also be returned to them. With over 1,500 people on the Rapid Response Network, any attempt by a bank or mortgage company to kick homeowners to the curb can be met with swift and stiff resistance.
It is because of this community response that values people over profit that the police and courts have been more violent toward home defenders than other kinds of protesters. The home defenders subvert the system. While politicians like Portland Commissioner Nick Fish search for solutions that seem tailored to satisfy the business community more than the needs of people, the housing justice movement sees a few hundred vacant houses that can–and should–have people living in them. They believe housing is a human right, not a market from which to cull a profit. If there is to be a sit-lie ordinance, it should be that all people must have housing in which they can safely sit and lie.
Housing activism is not new. During the Great Depression the same thing happened in cities across the country. Police would remove people's belongings from their home and and then neighbors would return it. In the end, there was little the authorities could do, given the high level of resistance from communities refusing to let their neighbors become houseless.
A year and a half after Debbie Austin–the first publicized evictee–began resisting foreclosure, it is clear that housing justice is a movement, not a few isolated events. Actions are well-coordinated, and behind the scenes of every foreclosed house there are many people doing the often invisible and thankless work of organizing. More and more people are joining the movement out of recognition that the system is continuing to funnel money upward to the rich, leaving them to orchestrate their own redemption.
Hawks, who is facing jail time for his housing justice work, understands the greater scope of the movement. "This is a struggle for land. Working class communities, especially communities of color, are being decimated by business interests and government police forces that take our land for the ruling class. This isn't new; it's a story that has been repeated throughout history. If we want to change the course of this history, we must work collectively to create and implement new forms of resistance. This is the only way to ensure that land and resources are in the hands of the people."
To join the Portland Liberation Organizing Council's Rapid Response Network, send a text message to the number 23559 and type @Ploc-openrrn — you'll get alerted when a community home defense takes place.
For more information on foreclosure resistance, including how to become a home defender, go to weareoregon.org.
Tags:foreclosure houselessness Portland Police Bureau
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At 18 years old Eli Fox is already a seasoned multi-instrumentalist and emerging songwriter with 2 releases under his belt. Eli's style will take you on a musical journey to the past, present and future. Eli will throw new original songs at you like " A Little More", "Hillbilly" and even "Grenade Tossing Monkey".
Eli was born and raised in Knoxville, Tennessee where the rich musical landscape has contributed to his unique style and development. Eli is continuing an extraordinary passion and desire to learn, practice and listen to all kinds of music past and present. Eli's infectious music performances have won over a growing audience of roots music loving millennials and baby boomers. This is an exciting period for Eli as he now has developed the confidence and clarity to share his original music to a wider audience.


text:
Gibbons Law Alert
With the 2017 Primary Over, It's Murphy versus Guadagno for Governor
by Michael D. DeLoreto · June 8, 2017
On Tuesday, June 6, 2017, New Jersey voters went to the polls to select their party's nominees for Governor and all 120 seats in the Legislature. After a 2016 election cycle full of surprises, New Jersey's 2017 primary resulted in wins for the gubernatorial front-runners, Democrat Phil Murphy and Republican Kim Guadagno. Those legislative districts with contested primaries also resulted in no major upsets and saw the expected candidates emerge with victories.
Governor's Race
Former Ambassador Phil Murphy won the Democratic primary with 48 percent of the vote (241,353). His next closest competitor, former U.S. Treasury official Jim Johnson, garnered 22 percent (109,260), followed by Assemblyman John Wisniewski who also received 22 percent (107,872). Senator Raymond Lesniak came in fourth with 5 percent (24,136).
Lt. Governor Kim Guadagno won the Republican primary with 47 percent of the vote (113,404). Assemblyman Jack Ciattarelli tallied 31 percent (75,275).
In both contests, turnout was low. About one-quarter of Democratic voters, and only 20 percent of Republicans, participated in the primary. With New Jersey and Virginia being only states to hold a gubernatorial election in 2017, national groups are expected to make these two elections a referendum on President Trump and his agenda.
Legislative Races
Of the 40 legislative districts, only a handful saw competitive primary contests.
In Legislative District 2 (Atlantic County), incumbent Democratic Assemblyman Vince Mazzeo and his running mate, John Armato, were successful against a challenge from Atlantic County Freeholder Ernie Coursey.
In Legislative District 12 (Monmouth/Middlesex/Burlington/Ocean), incumbent Republican Senator Sam Thompson and incumbent Republican Assemblymen Ron Dancer and Rob Clifton survived a challenge from a slate of Senate and Assembly candidates headed up by a former Old Bridge Republican Party Chairperson.
In Legislative District 17, incumbent Democratic Senator Bob Smith and incumbent Democratic Assemblymen Joe Egan and Joe Danielsen defeated a slate of candidates running on a progressive platform.
In Legislative District 24 (Morris/Sussex/Warren), incumbent Republican Senator Steve Oroho, incumbent Republican Assemblyman Parker Space, and former Commissioner of Labor Hal Wirths defeated their fellow Republican rivals.
In Legislative District 26 (Morris/Essex/Passaic), incumbent Republicans Assemblyman Jay Webber and Assemblywoman Betty Lou DeCroce were the two top voter-getters, defeating Morris County Freeholders Hank Lyons and John Cesaro.
In Legislative District 40 (Bergen/Essex/Morris/Passaic), incumbent Republican Assemblyman Kevin Rooney and his running mates for Senate and Assembly, Kristin Corrado and Chris DePhillips, defeated a slate of candidates organized and led by Bergen GOP Chairman Paul DiGaetano.
New Jersey's general election for Governor and Legislature is on Tuesday, November 7, 2017.
Tags: AccountingGovernorPrimary ElectionState Senate
Murphy Wins Governor's Race, Democrats Pick Up Seats in the Legislature
Murphy Announces Transition Team Chairs and Co-Chairs
James R. Zazzali Named Ethics Counsel to Gubernatorial Transition
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Aurum Journal of Health Sciences (AJHS – Au. J. Health. Sci.) is an international open access platform for basic, applied, theoretical and clinical studies in health sciences. AJHS publishes double blind peer-reviewed research articles, short reports, case reports, invited reviews and letters to the editor. AJHS is published bi-annually both in printed and electronic version. AJHS is a multidisciplinary journal on health sciences and accepts manuscripts on dental, medical, health services and pharmaceutical studies. The manuscripts linking different disciplines of health sciences will be given a priority in the journal.