顺治十六年(1659)作《竹石》扇面、康熙二十六年(1687)作《竹石图轴》，现藏故宫博物院；康熙十八年(1679)作《墨竹图》轴藏泰州市博物馆；康熙二十九年(1690)作《雪竹图》轴藏广州美术馆；二十一年作《竹石清泉图》卷藏江苏省美术馆；三十年(1691)作《竹石图》轴藏中央美术学院。弟子俞俊，字秀登，钱塘人，传师法而能出蓝。
《清诸升墨竹图》是清代画作，之前由民间收藏，现藏于泰州市博物馆。绢本，水墨，纵195厘米，横69.7厘米。此画构图取竖式，五竿竹子支撑整个画面，右下角有一湖石陪衬。五竿竹子用淡墨画出，二、三相交，你拥我抱，彼此呼应。竹叶分成几组，前后错落，疏密、浓淡和谐分布。诸升在这里非常讲究用墨，尽管是在绢上画墨竹，但丝毫没有工匠气，在充分利用墨分五色的特殊效果，营造画面丰富层次的同时，更营造了雾色竹韵的环境气氛。其中虚虚实实的用笔，工整而有变化，生动却不草率，极富情韵和润朗之气。湖石以简括的笔法勾就，稍有晕染，石的顶部点饰数笔，显示有一些碎小的植物，圆形的墨点与长形针状的竹叶对比中有变化，石的根部，细草丛生。这组景物在整个画面里起到视觉上的平衡作用，同时也与雾中之竹的情态形成鲜明的对比。细细品味，那清晨晓雾中的新竹，骄傲地舒展着修长的身姿；阵阵薄雾飘来，竹影婆娑，若隐若现；片片带露的竹叶被浸润得鲜活欲滴，流露出清逸秀润之气。这是多美妙的意境啊!此画款署：“己末，花朝写于深柳读书堂，钱塘诸升。”有印章若干。

Zhu Sheng (1617-1691), the word, such as, Xi Xi Temple, Zhejiang Renhe (now Hangzhou) City people, good blue, bamboo, also good at landscape. Painting Zhu division Lu was, the next pen Jin Li, chic natural. Written by the rods Jin Ting Xiuba, crosswise straight, without losing the degree; bamboo leaves are a sub-density have caused the snow by the people of the world is particularly commendable. Bamboo leaves are a sub-density have caused, the painting is particularly preferred snow bamboo. Zhu Sheng is still 75-year-old. There are carnation Qiusu map, also work landscape, a landscape map, the existing Japan.

The 16th year of the reign of Emperor Shunzhi (1659) was the "bamboo stone" fan, the 16th year of Emperor Kangxi (1687) as the "bamboo shaft", the Imperial Palace Museum; the eighteen years of Kangxi (1679) Twenty-one years as "bamboo clear spring map" Volume possession of Jiangsu Provincial Museum of Fine Arts; thirty years (1691) for the "Snow Bamboo Figure" axis Tibetan Museum of Fine Arts; Bamboo stone "axis of the Central Academy of Fine Arts. Disciple Yu Jun, the word show board, Qiantang, Chuan Shi and blue.
"Qing Zhu Sheng bamboo ink" is the Qing Dynasty paintings, before the collection by the private, now hidden in the Taizhou City Museum. Silk, ink, vertical 195 cm, horizontal 69.7 cm. This picture composition take vertical, five bamboo support the entire screen, the lower right corner of a lake stone foil. Five bamboo bamboo with light ink to draw, two, three intersect, you hold me, echo each other. Bamboo leaves are divided into several groups, before and after scattered, density, shades and harmonious distribution. Zhu Sheng is very particular about ink here, although in the silk painting of bamboo, but no artisans gas, in full use of ink colored special effects, creating a rich level of the picture at the same time, but also create a fog color bamboo rhyme environment atmosphere. One of the virtual pen, neat and change, vivid but not hasty, very rich and Yun Yun Yun of the gas. Lake stone with a simple strokes on the hook, a little blooming, the top of the stone decorated with a few pen, showing some small pieces of plants, rounded ink points and long needle-shaped bamboo leaves in contrast to change, stone Roots, fine grass. This group of scenes in the whole picture plays a visual balance, but also with the fog of the bamboo in a stark contrast to the modality. Hsinchu in the early morning fog, proud to stretch the slender figure; bursts of mist floated, bamboo shadow whirling, looming; pieces exposed with bamboo leaves were soaked alive, dripping, revealing A clear Yi Xiu of the gas. This is a wonderful mood ah! This painting section: "has the end, flowers toward the deep willow reading hall, Qiantang Zhu Sheng." There are a number of seals.