Yanagita Kenyoshi. Doji-Wa. Japan 1934.
Most artists aim at a late-Baroque or Rococo setting of the tale; but it is highly probable that the Japanese Yanagita Kenyoshi (1934) knew something about Andersen’s source. At any rate, his procession can very well be construed as Spanish Renaissance set against medieval walls. In any case, it is not Japanese.
One can go further and choose an abstract orientalizing milieu, as the British Beardsley imitator Harry Clarke (1916) did in most of his fairy-tale drawings, as also here. The scene could be from The Arabian Nights, though they scarcely used suspenders there. One can also go the reverse way and have ordinary contemporary people witness the strange event. This is the method of an anonymous Rumanian in 1931 and of Albert Merckling in a German edition from Zurich in 1944.