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

the four Tibetan schools. They all stood — in the interpretation of the exhibitor — in a hierarchic
relation to one another. Each step up was based on the one before it: the Sakyapas on the
Nyingmapas, the Kagyupas on the Sakyapas, and the Gelugpas on the Kagyupas. The message was
that the history of Buddhism, especially in Tibet, had had to progress like a initiand through the
individual schools and sects step by step so as to further develop its awareness and then reach its
highest earthly goal in the person of the Dalai Lama.
The visitor entered the exhibition through a room which contained a Kalachakra sand mandala (the
“time palace”). This was supposed to proclaim that from now on he or she was moving through the
dimension of (historical) time. In accordance with the cyclical world view of Buddhism, however, the
journey through time ended there where it had begun. Thus at the end of the tour the visitor left the
exhibition via the same room through which he or she had entered it, and once more passed by the
sand mandala (the “time palace”).
If the Tibet exhibition in Bonn was in Thurman’s words supposed to have a symbolic significance,
then the final message was catastrophic for the visitor. The final (!) image in the “temple
exhibition” (before one re-entered the room containing the Kalachakra sand mandala) depicted the
apocalyptic Shambhala battle, or (as the catalog literally referred to it) the “Buddhist Armageddon”.
[5] We would like to quote from the official, enthusiastically written explanatory text which
accompanied the thangka: “The forces of Good from the kingdom of Shambhala fight against the
powers of Evil who hold the world in their control, centuries in the future. Phalanxes of soldiers go
into combat, great carts full of soldiers, as small as Lilliputians are drawn into battle by huge white
elephants, laser-like (!) weapons loose their fire and fantastic elephant-like animals mill together and
struggle beneath the glowing sphere of the kingdom” (Thurman and Rhie, 1996, p. 482). With this
doomsday vision before their eyes the visitors leave the “temple” and return to the Kalachakra sand
mandala.
But who was the ruler of this time palace, who is the time god (Kalachakra) and the time goddess
(Vishvamata) in one? None other than the patron of the Tibet exhibition in Bonn, His Holiness the
Fourteenth Dalai Lama. He destroyed the Kalachakra sand mandala in Bonn in the ritual we have
described above and then absorbed its energies (the time gods residing in it). If we pursue this tantric
logic further, then after the absorption of the mandala energies the Kundun assumed control over the
region which had been sealed by the magic diagram (the sand mandala). In brief, he became the
spiritual regent of Bonn! Let us repeat, this is not our idea, it is rather the ancient logic of the tantric
system. That it however in this instance corresponded with reality is shown by the enormous success
His Holiness enjoyed in the German Bundestag (House of Representatives) after visiting his
“Kalachakra Temple” in Bonn (in 1996). The Kohl government had to subsequently endure its most
severe political acid test in relations with China because of the question of Tibet.
Scattered about the whole world in parallel to his Kalachakra initiations, sand mandalas have been
constructed for the Fourteenth Dalai Lama. What appears to a western observer to be a valuable
traditional work of art, is in its intentions a seal of power of the Tibetan gods and a magic foundation
for the striven-for world dominion of the ADI BUDDHA (in the figure of the Kundun).
Footnotes:
[1] The discipline is indebted to the Austrian, René de Nebesky-Wojkowitz, for the most profound insight into
Tibetan demonology, his great work, Oracles and Demons of Tibet. His early death, and his wife’s suicide