Answering to this:
if a professional artist wants to pedal Bach's music, how percentages of his pedaling falls exactly at the same places and in the same manner, according to the Busoni edition suggested
Nowadays pianists tend to use very little pedal when playing Bach (instead of Busoni). The pedal is usually not used for effect or to get a full sound. It is used more to just make the sound more "alive", the same way a string player would use just a bit of vibrato (or, perhaps more suitably in baroque music, a "swell" for longer notes) so that the sound is not so flat. Try listening to some performances on YouTube; in many cases it is difficult to tell whether pedal is used at all for most of the piece.
So, from this point of view, the pedaling of the lower system is certainly out of question. The alternative pedaling on the first system is probably closest to a modern Bach-pedaling. However, even that is a bit much. First of all, I would say most pianists would change the pedal for the 1/16th notes, too. Secondly, at least I would in most cases only use the pedal at the end of a note, because using it for the whole note easily makes the sound thick (this depends on where and with what you play). With the end of a note I mean the end of the sounding note. For example, I would probably not let the dotted 1/8 notes sound for their whole duration. Thirdly, I would use half-pedal in most cases (this is partly because the pedals are so short that it becomes a lot of work to use a full pedal every time).
In short, modern Bach-pedalling usually consists of lots and lots of little pedals (or no pedal at all, especially for fast pieces). Where you put these depend on many things. Usually you don't want a thick sound, you don't want to muddy the ornaments, you don't want to connect too many notes, etc. etc. Yet still you don't want a dead sound.
So, a very short answer to the question is: the pedaling Busoni suggests for his arrangement is not at all what pianists would do when playing the original piece.