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Das Pergamentfragment stammt zusammen mit sechs weiteren Fragmenten wahrscheinlich aus demselben Korankodex: (1) Arabe 335 (Paris), (2) Marcel 5 (Sankt-Petersburg), (3) Cod. Or. 14.545 a (Leiden), (4) KFQ 50 (Khalili Collections London), (5) MIA 276 (Museum of
Islamic Art, Doḥa, Katar) und (6) E 16264 K (University of Pennsylvania
Museum Philadelphia). Ursprünglich befand sich die Handschrift in
al-Fusṭāṭ (Alt-Kairo). Eine Radiokarbonmessung einer Probe aus dem
Leidener Fragment (Cod. Or. 14.545 a) hat eine Entstehungszeit des Pergaments zwischen 652-763 (mit einer Wahrscheinlichkeit von 95,4%) ergeben.
Der Katalogeintrag von Nabia Abbott, The Rise of the North Arabic Script and its Kurʾānic Development, with a Full Description of the Kurʾān Manuscripts in the Oriental Institute, Chicago 1939, S. 64, enthält folgende Angaben:
"No. 9. A 6958 2D-3D CENTURY AFTER THE HIJRAH. PLATE XV
Size and general condition.- Fine parchment folio 24x22.2 cm., containing parts of 10 lines on each page and trace of an 11th line on the verso. To judge by the text lost, at least a third of the original width is lost, and the full page therefore must have contained ad least 18 lines, making the original folio one of considerable size which perhaps, like No. 1, measured about 40x35 cm.
Contents.- Recto, Sūrah 5:91 (ال[يم]) 94 - (الصلوة) ; verso, ibid.: 97 (وما) and - 102 ( اصبحوا ) .
Script.-Large, straight, angular Kūfic, with hardly any spacing between
the lines, so that the unsually long perpendicular alif, measuring
2.3-2.5 cm., almost touches the text in the lines above and below;
letter and word spacing is also comparatively close. The alif bends to
the right almost at right angles, with a fair-sized horizontal stroke
tapering toward the end. Final and separate ṣ and n are extended
downward considerably, and the final stroke toward the left is cut short
withoout turning upward. Several m forms are seen; that in المحسنين
in recto 7 isespecially interesting in its adaptation to the form of the
adjoining ḥ. The y is reversed.
Vowels are represented by large dots above, to the left of, and below the letters for a, u, and i respectively. These were originally in red ink, which is now oxidized into black. Diacritical strokes are used fully and freely.
Ornamentation and text division.-No beginning of a sūrah occurs in the text, but the punctuation devices would point to a simple scheme of decoration. Two or three strokes mark the ends of verses; in one instance (verso 4) a double-lined diamond is used. Several geometric designs must have been used to mark groups of ten verses; recto 1 shows a double-lined square, and verso 3 (whcih marked verse 100 in the manuscript, though it is only verse 98 in the printed Kurʾān) has a larger double-lined square in the center of which is the doubly curced letter numeral k for 100. The k [qāf] is original, but the rest of the design seems to be of a later date. Each of the vertical sides of the square is extended upward to form the outer side of a right-angled triangle with half the side of a square for a base. This particular design may have been conditioned by the position of the letter n of the line above. Small semicircles fringe the outer lines, and the triangles are hatched. These evidently later decorations are clumsy in contrast with the earlier and well executed script."
Fragment aus einem Kodex, aus dem die folgenden Fragmente erhalten sind: (1) Arabe 335 (Paris), (2) Marcel 5 (Sankt-Petersburg), (3) Or. 14.545a (Leiden), (4) A 6958 (Chicago), (5) MIA 276 (Doḥa), (6) KFQ 50 (Khalili Collections, London), (7) E 16264 K (University of Pennsylvania Museum, Philaldelphia.
