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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 12.8X20.5 /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 resemblees 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 mistankenly 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 souht to retain the most characteristic features of Hijazi, while using a style of script that was thouroughly 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 11. 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 (1.1.1) 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.
