When the ineffable is widely considered the symbolic paradox in the Zen school of Buddhism, it seems that the narrowness of language has been thus demonstrated in the realm of interpretation of buddhadhātu (buddha-nature). Therefore, the Zen has been characterized by its emphasis on both the rupture of language and a permanent movement of phenomena, which leads probably to a kind of sense of śūnyatā (emptiness). This impermanence of substance or this strong feeling to escape from the physical reality allows us, in this way, to associate it, not only with l’ineffable vide (the ineffable void) of Henri Michaux (1899-1984), but also with his creation driven by the unconsciousness in order to rebuild a sacred space in his dedans (inside).From this perspective, this study aims, by focusing on the dialectic between macrocosm and microcosm, to approach an Oriental spirit which could be traced back to its religious source and gradually permeate through all kinds of aesthetic fields. The stamps of some Oriental mystic thoughts (Hinduism, Taoism, Buddhism, etc.) in the spiritual world of Michaux have, moreover, brought another point of view towards his esoteric technique and revealed to us something ineffable as well as invisible.