Michael a few thoughts that may be difficult to condense.., and these can be added to, or so I have found, as terms bridge meanings rather than frame meanings, infinite rather than finite. We seek definition, and yet these definitions to some specific degree, evolve and are infinite in their methodology. This makes them difficult to define as a definition. As once mentioned elsewhere the observation that "once we have defined 'it', that 'it', becomes obviated".
in old garden references, fuzei
is moreso the 'breath of fresh mountain air' that one can find on an upslope in a copse of pine.
I would suggest leaving out the ikedori part entirely as it is a reference of esoteric knowledge for the refinement of the methods once the mnemonic device is in place. One would probably ask, "how effective is that device you use, does it capture the sense of ____ alive? Is there life?" Confinement of a wild thing is anathema. Please see below*
The best text on the subject is by Teiji Ito, Space & Illusion. I do however, for simplicity to get started with a solid grasp of the variables is from Despina Sfakiotaki and would suggest to stay with:
Shakkei ??: Literally borrowed scenery. The method of incorporating a distant vista
into the composition of a garden. A river, the ocean, fields, forests, large trees, or even a
building may all serve as shakkei, but the most frequently borrowed scene is a distant
(my note: Gunter Nitschke also mentioned that the immediate micro scenery is borrowed through various devices within a short range of vision. the question is, "what should be emphasized and noticed?")
Enshaku ??: Distant borrowing, one of the four classified types of shakkei.
Fushaku ?: Downward borrowing, one of four classified types of shakkei.
Gyoushaku ??: Upward borrowing, one of the four classified types of shakkei.
Rinshaku ??: Adjacent borrowing, one of the four classified types of shakkei.
with these four directions, the devices may be the bamboo blind that is drawn down to 'frame a view', or horizontal branches or other angles that echo the borrowed scene, or the trunks of pine on either side, or the mnemonic shapes of shrubs in the foreground that echo the mountain in the background. The stones in a pathway could echo the tops of hills and mountains: one horizontal plane echoing the vertical plane.
*In the esoteric, when one begins to use mnemonic devices, the more subtle unconscious borrowing such as the pathway stone example, then one begins to feel that the scene is subtly 'alive/held', similar to a painting encapsulating a feeling that only comes visible in specific light or 'impressionism'. The entire space comes 'alive' rather than the focus on the one distant item that is being captured. The opposite of the wording holds, wherein the elegant description is that this space and this space alone has 'come alive' and the mnemonic devices 'hold the scene here'. Another way of expressing 'captured' to someone that does not get the nuance, which, is hard to 'get' and understand, necessitating much onion peeling and tears.
Meigakure literally means 'hidden from sight', and in typical cryptic garden manner the opposite is what one does with the definition, reveal what is hidden from sight.
Having said all this, as with peeling an onion, these definitions/explanations would be deemed incorrect at another phase of learning, either previous or after the phase from which I am currently speaking from.
it all endlessly infinitely evolves.. but stays the same.. thank you for working through terms edzard