1958年，出生于北京。
　　1968年至1976年，移居西安。
　　1976年在北京师从梁树年先生，之前曾受长安画派石鲁，何海霞，罗铭等诸家的指导和影响，以破格大胆、写意自由和简洁闲逸的画风闻名，并被誉为中国实验水墨的先驱。
　　张进自幼受传统文化熏陶，培育了对传统艺术的兴趣和认知，为他日后的艺术风格奠定了思想根基。
　　张进的绘画拓展了长安画派的写意风格，把现代意识和观念融合于传统水墨和哲学思想中，敢于突破前人的陈规和官方学院派的束缚，创作出独特的艺术，并以“笔墨超越时代”的时空观独步于这个时代。
　　张进对大自然的独特情感源于其儿时经历。1968年，他与家人移居至陕西城固地区的一座古老教堂居住。教堂位于深山，每到晚上，山中的宁静与教堂的神秘让他感到恐惧，却也培养了他对自然的热爱，这切身的记忆对艺术家的水墨境界有着深远的影响。
　　张进曾写过一篇文章《传统现代两条腿走路，一身泥生活》：
　　“认为在艺术的道路上，既要保留对传统的感情，也要进入现代的精神，只有传统走得越深，现代艺术才能走得越远。两者就像走路，左右换步，缺一不可。”
　　张进透过艺术把矛盾变成和谐，在尊重传统的同时，以新的艺术语言，为水墨带来无限的可能性。
　　张进的水墨，重视人在自然中的悟性和灵性。为中国水墨打开独特的未来之路。
　　Zhang Jin 1958, born in Beijing. 1968-1976, resided in Xi'an.
　　1976, became Mr. Liang Shunian's apprentice. Before that, he was influenced and guided by artists of the Chang'an School, including Shi Lu, He Haixia, Luo Ming. He is recognized as being the pioneer of experimental Chinese ink painting, recognizable for its bold, free and simple style.
　　Since his childhood Zhang has been influenced by traditional culture, which has fueled his interests and perception in traditional art, laying the foundation for his own traditional art style.
　　His methods extend the impressionism and freehand style of the Chang'an School, and incorporate modern consciousness and thinking with the spirit and approach of traditional ink painting and philosophy. He dares to break through the stereotypes of his predecessors' doctrines and academism, and creates unique artistic ideas without the kitsch. His "ink painting transcends time" making him a unique artistic figure in the current times.
　　Zhang's special affection towards nature originates from his childhood. In 1968, his family moved into an ancient church, located deep in the mountains in the Chenggu area of Shaanxi province. Even though the tranquility of the mountains and the mystery of the church terrified him, it also cultivated his love for nature. This personal experience has had a profound influence on his realm of ink painting.
　　Zhang once authored an article entitled "Walk with two legs – the traditional and the contemporary. Live life in an earthly body." Meaning that, "He believes on the one hand that he should retain the 'sensibility' of the traditional in the process of artistic conception; while on the other
　　hand, he should apply the contemporary 'spirit' of art to his work. The two are like "walking simultaneously, steps changing, neither one existing without the other."
　　Zhang turns contradiction into harmony in his works. While respecting tradition, his new artistic language ignites new possibilities for Chinese ink painting.
　　Zhang's artistic approach encourages people's comprehension and spirituality towards nature, creating a unique new path for the future of Chinese ink paintings.