great master of Japanese painting.

Like his father, Masanobu, the first of the Kanō painters, Motonobu served the Ashikaga shoguns (a family of military rulers who governed Japan from 1338 to 1573) and inherited the Chinese-inspired monochromatic ink-painting style (suiboku-ga, “water-ink painting”) favoured by the Ashikagas. Motonobu, however, was also the son-in-law of Tosa Mitsunobu, founder of the Tosa school of painting specializing in the native Yamato-e (Japanese Painting) style, and he effected a compromise by combining the strong brushwork of the Chinese suiboku-ga with the decorative appeal of the Yamato-e. The resulting style was especially suitable for large-scale compositions and practically dominated Japanese painting for the next 300 years.

A gifted and versatile artist, Motonobu excelled in landscapes (both in monochrome and in light colour), figures, and flower-and-bird pictures. He executed many paintings on the sliding panels of the Reiun-in monastery in Kyōto, where he decorated three rooms with landscapes painted in the styles of three different Chinese masters: the soft ink-wash style of Mu-ch'i Fa-ch'ang (late 12th–early 13th century); the hard, stiff style of Hsia Kuei (1195–1224); and the broken ink style of Yü Chien (c. 1230). Some of Motonobu's paintings, originally done on sliding panels, were subsequently mounted on hanging scrolls; these include the important “49 Landscapes with Flowers and Birds” (also in the Reiun-in monastery), which prefigure the monumental decorative compositions of the later Kanō artists, Eitoku (1543–1590) and Sanraku (1559–1635).