The painting of Bodhisattva Padmapani is one of the most famous and oft-illustrated paintings at

States Ajanta (Maharashtra) is the most famous site for cave paintings and mentions a motif of a woman surrounded by lotuses and elephants in Ajanta paintings.

A student could note that Padmapani is associated with a lotus motif and therefore check whether Ajanta paintings include lotus-associated Bodhisattva images (via image comparisons or site guides).

Explicitly says the popular Bodhisattva Avalokitesvara is depicted in painting and sculpture.

Since Padmapani is a form/name of Avalokitesvara, a student could link this rule to seek Avalokitesvara images at Ajanta to test if Padmapani appears there.

Describes Ajanta caves as a repository of rich mural paintings with technical detail, indicating major mural tradition at the site.

Knowing Ajanta is a primary site for major murals, a student could prioritize Ajanta when looking for famous Bodhisattva paintings such as Padmapani (using photographic catalogs or museum references).

Notes Ajanta group of caves are famous for paintings (as opposed to Elora for sculpture) and gives their broad dating and location.

A student could combine this with knowledge that Padmapani is a painted Bodhisattva figure to focus inquiries on Ajanta’s painted caves and their catalogues or specific cave numbers.

States there are thirty caves in Ajanta and several contain mural paintings, implying specific caves to inspect for particular painted images.

A student could use this to narrow the search to Ajanta’s painted caves (identify which caves carry figurative murals) when verifying whether Padmapani appears there.

States that paintings are found in a cave temple dedicated to Vishnu in Badami and that many Badami paintings are of incarnations of Vishnu.

A student could use this to infer that Badami’s surviving murals are largely Hindu-themed and therefore check whether a Buddhist Bodhisattva subject (like Padmapani) fits the predominant iconographic program.

Lists Badami among sites (Ajanta, Bagh, Badami) known for mural paintings, connecting Badami to the broader tradition of cave murals.

A student could compare the types of subjects at these listed mural sites (e.g., known Buddhist subjects at Ajanta) with the subjects at Badami to assess whether a Padmapani image is plausible at Badami.

Notes that Bodhisattva figures (e.g., Avalokitesvara) are important and depicted in painting and sculpture in the region.

One could use this pattern (bodhisattvas appear in regional art) to justify looking specifically for Buddhist imagery at cave sites and then check whether Badami’s iconography includes such bodhisattvas.

Describes Ellora caves as containing Buddhist, Hindu and Jain monuments with mural paintings preserved in some caves, showing that cave complexes in the Deccan can contain Buddhist bodhisattva murals.

A student could extend this by mapping which nearby cave complexes (Ellora, Ajanta, Badami) contain Buddhist murals to evaluate whether a Padmapani painting is more likely at Ellora/Ajanta than at Badami.

Explains that Ajanta caves are the most famous repository of mural paintings with narrative Buddhist subjects, implying certain Bodhisattva depictions are associated with specific caves.

A student could use the association of particular iconic bodhisattva images with Ajanta-like sites to question whether the Padmapani figure is linked to Ajanta rather than to Badami and so seek specific attribution evidence.

States that mural paintings of the Gupta period are found at Ajanta, Bagh, Badami, indicating Bagh is a site with notable mural paintings.

A student could use this to consider that famous Gupta-period Bodhisattva murals might plausibly be at Bagh and then check image/catalogue references or museum records for Padmapani at Bagh.

Notes that Bodhisattva Avalokitesvara is depicted in painting and sculpture, showing Bodhisattva imagery was a common subject of cave murals.

Combine this with the fact that Bagh has mural paintings to infer that Bodhisattva figures (like Padmapani/Avalokitesvara) could appear there and then seek specific identifications.

Locates Ajanta and Ellora groups in Aurangabad and distinguishes Ajanta as famous for paintings, providing a regional painting tradition context that includes nearby painted cave sites.

A student could use a map to note geographic clusters of painted caves (Ajanta, Bagh) and then compare known motifs (Padmapani at Ajanta) to reported motifs at Bagh to evaluate plausibility.

Describes the themes and high quality of cave paintings at Ajanta (Jataka stories, naturalism, lotus motifs), illustrating the kind of advanced Bodhisattva and lotus imagery used in cave murals.

Use this as a stylistic template: if Bagh paintings share similar Gupta-era lotus/Bodhisattva motifs, it strengthens the plausibility that a Padmapani-type figure might be present there, prompting targeted visual comparison.

Lists Bagh (Madhya Pradesh) among rock-cut cave sites associated with the Gupta period in a question item, linking Bagh to the same historical/artistic milieu that produced Padmapani images.

A student could take this as a cue to treat Bagh as a Gupta-period painted cave site and then search period-specific catalogues or scholarly site descriptions for the Padmapani motif at Bagh.

Says mural paintings exist at Ellora but are limited: murals are found in five caves and only the Kailash temple murals are preserved.

A student might infer that if a famous, well-preserved Bodhisattva mural exists, it is more likely to be at a site with extensive surviving murals and then check which site has those.

Describes Ajanta as the repository of rich mural paintings with detailed techniques for wall painting.

Use the fact that Ajanta has extensive, well-preserved murals to suspect that famous painted Bodhisattva images may be located at Ajanta rather than at a place with fewer preserved murals.

Notes that Bodhisattva Avalokitesvara is depicted in painting and sculpture (identifies Bodhisattva figures as a common painted subject).

Combine this with knowledge of which cave sites have major surviving Bodhisattva paintings to judge where a named Bodhisattva painting (e.g., Padmapani) more plausibly survives.

Highlights that Ajanta paintings are the most famous surviving cave murals and gives examples of subjects and high-quality technique.

A student could use the reputation and preservation level of Ajanta to prioritize checking Ajanta for a famous Bodhisattva painting before Ellora.

States Ellora caves are famous mainly for sculptures representing multiple religious sects and notes Kailasanatha panels of purana scenes.

Suggests Ellora's principal fame is sculptural work; a student could therefore be cautious about attributing a famous painted Bodhisattva to Ellora and instead look to cave sites known for paintings.