Das in einem frühen Schrifttyp (ḥiǧāzī IV mit starken Ähnlichkeiten zu kūfī C I b) Fragment KFQ 59 stammt zusammen mit KFQ 61 aus einem Korankodex, aus dem auch 25 fol. des Fragments Arabe 334c (Bibilothèque nationale de France) stammen. Da uns nur das Bild der Seite, fol. 1r., vorliegt, sind dessen genauen Textgrenzen nicht erfasst. Nach den Angaben des Katalogs enthält fol. 1v den Beginn der 25. Sure.
F. Déroche beschreibt die Fragmente mit den Signaturen KFQ 59 und KFQ 61 in einem Eintrag (The Abbasid Tradition, London 1992, S. 32):
"3 / Two folios / End of the 8th century AD or early 9th / Fragmentary;
largest dimensions now 16x24.5 (KFQ59) and 13x18.5 cm (KFQ61), with
parts of 13 and 11 lines surviving / Material Parchment; the hair side is the verso in both cases / Text area 12.8x20.5cm (KFQ59), 10.9x17 cm (KFQ61) / Script Hijazi IV / Accession nos KFQ59, KFQ61 / Another fragment from the same Qurʾan
Paris, Bibliothèque Nationale, MS.arab.334c / Déroche 1983, no. 9) /
The script of these two fragments may be an intermediate style, for it
strongly resembles C.Ib, but there is a slight slant to the right, as
in Hijazi. The Fihrist of Ibn al-Nadim shows that, by the time
that this style was in use, the peculiar features of Hijazi were fairly
widely known. The veneration paid in later periods to Qurʾans of the
Abbasid period that were mistakenly attributed to Companions of the
Prophet suggests that in earlier times copies in Hijazi inspired a
similar degree of awe. It is thus not impossible that calligraphers
sought to retain the most characteristic features of Hijazi, while using a
style of script that was thoroughly contemporary in other respects.
This would explain the odd appearance of Hijazi, type IV. / The text of
the first fragment (KFQ59) runs from Sūrat al nūr (XXIV), vers 59, to Sūrat al-furqān (XXXV), verse 4, with a lacuna between verses 61 and 63 of Sūrat al-nūr. The text of the second fragment (KFQ 61) consists of verses 77-124 of Sūrat al-shuʿarā
(LXXVI), with a lacuna between verses 93 and 110. The two fragments are
probably part of the same quire and may have been the two halves of the
same bifolio, perhaps folios 3 and 8 of the quire. / The text is in
black ink, with occasional diacritical strokes. Red dots were used to
indicate vocalization, and clusters of three oblique strokes in ink
(I.I.I) were placed at the end of every verse. On the second fragment
(recto, line 3; verso, line 1), a red circle surrounded by strokes in
ink (1.A.11) indicates the end of a group of ten verses. On the verso of
the first fragment a decorative band divides the two surahs: a row of
small rosettes separated by a pair of vertical bars ends with a vignette
organized around a pomegranate in the left-hand margin. Every fourth
rosette is painted in a very dark green, and there is a central group of
five red and yellow rosettes."
- Déroche, François: The Abbasid Tradition. Qurʾans of the 8th to the 10th centuries AD. Nour Foundation in association with Azimuth Editions and Oxford University Press, London 1992.
