학위논문(석사) -- 서울대학교대학원 : 인문대학 고고미술사학과(미술사학전공), 2023. 8. 신준형. ; The 16th-century Dutch painter Pieter Bruegel the Elder painted two versions of The Tower of Babel paintings, once in 1563 and again in 1568. This thesis argues that the allegory of the painting The Tower of Babel (c. 1568) which now is in possession of Boijmans van Beunigen Museum in Rotterdam, portrays that the tyranny of the Spanish empire became more severe after Beeldenstorm, the iconoclastic movement in the Netherlands. In addition, it attempts to clarify the significance of The Tower of Babel in Rotterdam by claiming that there are conflicting nuances and meanings that coexist on one canvas, using support by discovering the purpose of the patron who commissioned Pieter Brugel the Elder to paint it. Bruegel depicted Spanish tyranny and Dutch society in his paintings. However, he did not represent the contemporary Netherlands itself. Instead, he metaphorically described the Netherlands under Spanish oppression by painting various allegories in religious and landscape paintings. Bruegels The Tower of Babel paintings are great examples of this strategy. In his paintings, the Tower of Babel symbolizes the Spanish Empire, which oppressed the protestants in the Netherlands to purge Corpus Christianum from heretical infections. While The Tower of Babel (1563) in Vienna shows the process in which Spanish governance over the Netherlands was being formed, the Rotterdam painting shows that Spain's governance structure is becoming more solid and nearing its completion. The Tower of Babel in Rotterdam shows similar scenes to the Vienna painting but has differences in detail. Considering the chaotic situation that the Netherlands had suffered, it is assumed that Bruegel sought to connect the narrative through this difference in detail. He allegorically depicted the ruling structure of the Spanish Empire, which became severer after Beeldenstorm. It is noteworthy that in The Tower of Babel in Rotterdam, there are no conspicuous objects except for the Tower of ...