Problem is -- by interrupting an attack all you get usually is an immediate and different attack - which trading of attacks and counters is usually called "sparring" -- and sort of defeating the purpose of the art, IMO.
This form of inside entry is (IMO) best used by shifting on the tangent to the arc of the strike (juuji) and a tenkai turn, which places your body just beyond the strike, at 90 degrees off, and a drawing kuzushi is achieved and the same basic shihonage shown in the depiction is then accomplished.
Geometrically and mechanically speaking, your shift at right angles forms a trammel action
, which takes the center of his circular arc of swing and shifts it to a ellipse (ellipses have two centers). But he then finds himself on the side in which the center he orbits is now you, and suddenly not him ( i.e. - kuzushi
). The long and short lines in the image are fixed lengths -- which emphasizes the important function of maai
in performing the art in this manner.
This image shows the effects of shifting weight (funetori)
from one foot (square) to the other (dot at the end of the line), when using this trammel principle in typical action. Effectively, one foot travels in a straight line at right angles to the attacker's dominant direction of movement, the other foot follows a dependent arc (IOW - the irimi-tenkan principle) -- all of which is driven by the interaction of the motion of the two centers once joined in this way. Because of the 90 degree relationships -- there is never any direct force-on-force negation or interruption at all -- and all of the attacker's energy is converted into destabilization.
As things progress the movement of the center need not go outside of your own stabilization zone and rather than movement of the feet, the same thing is accomplished with a shift of center/weight and a turn of the body in place (ude furi
). Which MIGHT seem something like the OP gif image, but that one doesn't seem (to me) to be that.
The shihonage waza is a quintessential example of trammel action, but which is found throughout the art. The mechanical geometry should better illustrate why this is truly a "four-direction " throw.