In addition, the Japanese director Yasujiro Ozu was well known for creating a sense of mono no aware, frequently climaxing with a character very understatedly saying ii tenki desu ne ( いい天気ですね ?, "Fine weather, isn't it?"), after a familial and societal paradigm shift, such as a daughter being married off, against the backdrop of a swiftly changing Japan. In anime, both Only Yesterday, by Isao Takahata and Mai Mai Miracle, by Sunao Katabuchi emphasize the passing of time in gentle notes and by presenting the main plot against a parallel one from the past. Notable manga artists who use mono no aware–style storytelling include Hitoshi Ashinano, Kozue Amano, and Kaoru Mori.
Its scope was not limited to Japanese literature, and became associated with Japanese cultural tradition (see also sakura). In his criticism of The Tale of Genji Motoori noted that mono no aware is the crucial emotion that moves readers. Awareness of the transience of all things heightens appreciation of their beauty, and evokes a gentle sadness at their passing. Thus, mono no aware has frequently been translated as "the 'ahh-ness' of things", life, and love. The word is derived from the Japanese word mono ( 物 ?), which means "thing", and aware ( 哀れ ?), which was a Heian period expression of measured surprise (similar to "ah" or "oh"), translating roughly as "pathos", "poignancy", "deep feeling", or "sensitivity", or "aware". It became central to his philosophy of literature, and eventually to Japanese cultural tradition. The term was coined in the 18th century by the Edo period Japanese cultural scholar Motoori Norinaga, and was originally a concept used in his literary criticism of The Tale of Genji, and later applied to other seminal Japanese works including the Man'yōshū.
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