本文主要探討法國當代詩人、畫家、劇作家亨利•米修(Henri Michaux, 1899-1984)一本呈現圖像與書寫之遊戲的重要著作《表意文字在中國》(Idéogrammes en Chine)。本文從中國書畫藝術的觀點，把米修這部《表意文字在中國》整本書當作一件書畫作品，首先分析紅色在此作品書中所扮演的結構性與象徵性的角色，其次解析黑的墨色與書寫文本間的律動關係，及其展現於米修作品中的創作意義。最後本文將陳述書頁白色所具現的虛空，在中國書畫藝術及米修的作品中所蘊含的藝術與美學的涵義。

This paper examines Henri Michaux's Idéogrammes en Chine (1975) and studies through a Chinese art connoisseur's eyes the very particular interplays Michaux establishes in this work between his own text-a long poem-and the Chinese calligraphies he has chosen to accompany his text. What surprises the reader at first glance is that all the Chinese calligraphies are in red, although most of them were originally written in black; that is why they seem to be seals, while Michaux's text itself appears as if it were a calligraphy. The paper thus explores this work as a whole, as if it really were a Chinese painting or calligraphy: it first studies the role of red colour in Idéogrammes en Chine, then it's link with Michaux's poem that emerges in black, that means, ink colour, and finally Michaux's tendency towards emptiness, embodied by the sheet of paper white colour. The article also shows how close to Chinese philosophy and thought Michaux used to be, and how important to him it was, while he was seeking during his whole life a kind of new language, and trying to create an "ideographic language" that would need no word.