Religions have their aesthetics. They are not a collection of justified norms, values, principles and teachings, but speak in myths and in images. Holy scriptures want to be told. The point is to open up inner images, to open up spaces of encounter with God and people. In the whole of Greater Syria (meaning the area from the Mediterranean to Mesopotamia), this „heard tradition“ was of decisive importance. The article makes clear the importance of recitation in its spiritual, theological and aesthetic dimension for a religion based on scripture, which should not be underestimated. If one gets involved in the religious traditions of Greater Syria, one can experience this perspective on the Holy Scriptures as a space of perception and sound in many ways. Especially in the Orient, this scriptural recitation, which sounds almost like a song, has been preserved. This is how the Christian Church learned it from Judaism. And this is how Islam took it over from Christianity. Poetic language takes part in a process of development, makes it resound like the poetry of the Psalms. Hearing and perceiving in this way, people enter a wide space that can open up the divine to them - like a breath, a feeling, a sound, touched and moved by the mystery of life, which is greater than all (intellectual) understanding. In conjunction with recitation, it is the art of calligraphy that provides the crucial aesthetic bridge to scripture. The art of calligraphy gives letters and words a dress. It is significant in cultural history wherever the copying of sacred texts is itself a sacred process. Recitation and calligraphy open up a special space of sound and perception. The aesthetic dimension of a religion can open up new spiritual spaces of thought and experience in times when people who count themselves as belonging to a religious community express themselves strongly ethically and legally as well as scriptually.