The aesthetic term mono no aware comes from the Japanese words mono (thing) and aware (pathos). The Jisho online dictionary defines the term mono no aware as: appreciation of the fleeting nature of beauty; pathos of things; strong aesthetic sense. Understanding Japanese aesthetics has always posed a great challenge, to both Japanese, and Western scholars. In order to understand its principles, it is necessary to look at it from different angles, whether it is literature, art or society. The aim of the paper is to clearly present the term mono no aware through various aspects of Japanese art, starting with the Heian period, all the way to the modern age. The work is a form of review that serves to better understand the origin and influence of religion, society and culture on the development of mono no aware, as well as to stimulate interest in Japanese aesthetics in the West. The key person in establishing the term mono no aware is the Japanese scholar Motoori Norinaga from the Edo period (1603 – 1867) who states that mono no aware can help us in moments of great pain. In this case, writing waka poetry or monogatari helps us to get rid of negative emotions by sharing them with others and relieving our own pain. This knowledge has provided a better understanding of works of Japanese literature. Describing the emotions associated with the term mono no aware can be difficult and is most associated with feelings of regret and sadness, generally referring to negative human emotions. Nevertheless, negative human emotions carry a certain charm because they allow us to experience the essence of emotion in the creative imagination of the subject in which unfulfilled love or falling sakura petals will awaken more intense feelings in us than those that would be awakened by everyday events. Thus, understanding mono no aware will, not only enable us to understand Japanese poetry and literature, but Japanese mentality as well.