[[Berkas:10000points mechants.jpg|thumb|right|500px|Detail ''10.000 Titik Tinta Buruk''. Kira-kira tahun 1674, tinta di atas kertas.]]
'''"10.000 Titik Tinta Buruk"''' adalah sebuah contoh sempurna dari prinsip-prinsip estetik ironis dan perlawanan yang diberikan Shi Tao. Karya unik aperseptif ini menantang baku-baku keindahan yang sudah melembaga pada waktu itu. Karena lanskap dilukis secara hati-hati bergerak memburuk ke dalam percikan [[Pollock]]-esque, pemandang dipaksa mengakui bahwa lukisan ini tidak transparan (segera -dalam pengertian yang paling harfiah- tanpa media) menurut cara yang dimaksudkan sejak semula. Semata-mata karena mereka dinamai "buruk", titik-titik tinta bermula untuk mengambil sejenis keindahan abstrak.
'''"10,000 Ugly Inkblots"''' is a perfect example of Shi Tao's subversive and ironic aesthetic principles. This uniquely apperceptive work challenges accepted standards of beauty. As the carefully painted landscape degenerates into [[Pollock]]-esque splatters, the viewer is forced to recognize that the painting is not transparent (immediate, in the most literal sense meaning without media) in the way it initially purports to be. Solely because they are labeled "ugly," the ink dots begin to take on a sort of abstract beauty.
[[FileBerkas:Shitao-Qinhuai.jpg|thumb|200px|right|Reminiscences ofPeringatan Qin-Huai byoleh Shih T'ao, [[Cleveland Museum ofSeni ArtCleveland]]]]
'''"Reminiscences ofPeringatan Qin-Huai"''' isadalah anotherlukisan ofunik Shi Tao's uniquepaintingslainnya. LikeSeperti manybanyak oflukisan thedari paintingspenghujung from the lateDinasti Ming Dynastydan and earlypermulaan [[Dinasti Qing Dynasty]], itlukisan dealsini withberkenaan man'sdengan tempat placemanusia indi naturealam. UponBagaimanapun, apada firstpandangan viewingpertama, however, the craggy peakpuncak interjal thisdalam paintinglukisan seemsini somewhattampak distorteddistortif. WhatYang makesmembuat thislukisan paintingini sobegitu uniqueunik isadalah thatbahwa itlukisan appearsini toterlihat depictmenggambarkan thegunung mountainyang bowingmembungkuk. A monk stands placidly on a boat that floats along the [[Qinhuai River|Qin-Huai river]], staring up in admiration at the genuflecting stone giant. The economy of respect that circulates between man and nature is explored here in a sophisticated style reminiscent of [[surrealism]] or [[magical realism]], and bordering on the absurd. Shi Tao himself had visited the river and the surrounding region in the 1680s, but it is unknown whether the album that contains this painting depicts specific places. Re-presentation itself is the only way the feeling of mutual respect that Shi Tao depicts in this painting could be communicated; the subject of a personified mountain simply defies anything simpler.
