Kritik am Buch „The Shadow Of The Dalai Lama ... - Neues von Shi De

For the entire post-Vedic Indian culture (i.e., for both Hinduism and Buddhism), the goddess Kali
represents the horror mother of our decadent last days, which bear her name as the Kali yuga.
Therefore, she is the “mistress of history”. More comprehensively — she is considered to be the
personification of manifest time (kala) itself. In translation, the word kali means both the feminine
form of ‘time’ and also the color ‘black’. As such, for Hinduism the goddess symbolized the
apocalyptic “black hole” into which the entire material universe vanishes at the end of time. The
closer we draw to the end of a cosmic cycle, the thicker the “darkness” becomes.
Her male counterpole and Buddhist challenger, Kalachakra, attempts — one could conclude from
Waddell’s interpretation — to wrench the “Wheel of Time” from her, in order to himself become
“Lord of History” and establish a worldwide androcentric Buddhocracy. In the current and the coming
eon he wants that he and he alone has control over time. It is thus a matter of which of the two sexes
controls the evolution of the complete polar universe — she as goddess or he as god? When the tantric
master as the representative of the time god on earth succeeds in conquering the goddess Kali, then he
has — according to tantric logic — cleared the way on his path to exclusive patriarchal world
domination.
Aggression toward one another is thus the basis of the relation between the two gender-pretenders to
the “time throne”. But the Buddhist Kalachakra god appears to proceed more cleverly than his Hindu
opponent, Kali Vishvamata. Using magic techniques he understands how to goad the aggressive
sexuality of the goddess and nonetheless bring it under his control.
We shall later see that it is also his intention to destroy the existing universe, which bears the name
Kali yuga. For this reason he is extremely interested in the destructive aspects of time (kali) or,
respectively, in the destructive power of the goddess, who can crush all forms of existence beneath
her. “What is Kalachakrayana?”, a contemporary tantra commentator asks, and answers revealingly,
“The word kala means time, death and destruction. Kalachakra is the wheel of
destruction” (Dasgupta, 1974, p. 65).
The “alchemic female sacrifice”
"The Kalachakra Tantra”, writes the American David Gordon White in his comprehensive history of
Indian alchemy,”.... offers us the most penetrating view we have of any specifically Buddhist
alchemical system” (White, 1996, p. 71). In the fifth chapter of the Time Tantra, the “great art” is
treated as a separate discipline (Carelli, 1941, p. 21). In his commentary on the Kalachakra text,
Pundarika compares the whole sexual magic procedure in this tantra with an alchemical work.
In India, alchemy was and still is a widely spread esoteric body of knowledge, and has been since the
fourth century C.E. It is taught and employed as a holistic healing art, especially in Ayurveda.
Alongside its medical uses, it was considered (as in China and the West) as the art of extracting gold
(and thus wealth and power) from base substances. But over and above this, it was always regarded as
an extremely effective means of attaining enlightenment. Indian yogis, especially the so-called Nath
Siddhas, who had chosen the “great art” as their sacred technique, experienced their alchemic
attempts not as “scientific” experimentation with chemical substances, but rather as a mystical
exercise. They described themselves as followers of Rasayana and with the use of this term indicated
that had chosen a special initiatory path, the “Path of Alchemy”. In their occult praxis they combined
chemical experiments with exercises from Hatha Yoga and tantric sexual rites.