A Comparative Iconography of the Netherlandish Print in the 16th Century

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I have studied the Netherlandish artist Hieronymus Bosch, who took an active part at the end of the 15th century. I have understood with the process of research that the source of the image of Bosch is in the popular print circulated to people. The iconography of Bosch was turned into a print and was spread after his death and became the sources of images of many artists. And the Netherlandish prints were in no time brought about even in Japan through Spain and Portugal and were copied in a large screen as a painting. Thus an altarpiece of Bosch and the screen picture of Momoyama and Edo period are tied with one thread. In this case we need to catch the "print" as a medium of information rather than a medium of art, so that the new direction is open to conventional research. The Netherlandish print in the 16th century is suitable for "dictionary", even if we observe it from the internationality and the abundance of vocabulary as a common language. And after tidying these dictionaries in terms of the theme of iconography, we have moved the comparative research with an ukiyoe print of our country. It is then important to find out a common iconographical theme to both. Although I attempted before a experimental comparison "the prodigal son and the called Kabukimono", it was the study of comparative iconographycal learning of figures in Japan and Netherlands which appear and are common to Baroque ages print. Those were, with the point that customs in that time brought forth them together, the same character appropriate to popular prints from a common base called an urbanized information society. In this time I studied the iconography of the "quack doctor" that appeared as the theme of the 16-17th century print and analyzed in detail about the model in the Netherlands especially. I want the study with regard to the handling of the same theme of an ukiyoe as a future theme.