Most are not aware of the Dalia Lamas connections to CIA, Chinese state intelligence or of murderous history of his yellow hat sect, that sect promoted in the US by the initiate occultist Robert Thurman - father of the actress Uma Thurman.
There are four main sects of Tibetan Buddhists:
https://en.wikipedia.org/wiki/Red_Hat_sect
The cult drama of Tibetan/Tantric Buddhism consists in the constant taming of the feminine, the demoness. This is heralded already in the language. The Tibetan verb dulwa has the following meanings: to tame, subjugate, conquer, defeat; and sometimes: to kill, destroy; but also: to cultivate the land, civilize a nation, convert to Buddhism, bring up, discipline. Violent conquest and cultural activities thus form a unit for the Lamaist.
Dalai Lama is a "Yellow hat" or Gelugpa
Beginnings here:
In 1577 Sonam Gyatso, who was considered to be the third incarnation of Gyalwa Gendün Drup,[12] formed an alliance with the then most powerful Mongol leader, Altan Khan. As a result, Sonam Gyatso was designated as the 3rd Dalai Lama; "dalai" is a translation into Mongolian of the name "Gyatso" ocean, and Gyalwa Gendün Drup and Gendun Gyatso were posthumously recognized as the 1st and 2nd Dalai Lamas.
The Dali Lama is "the king of all rulers."
A killer & a warrior, the Dalai Lama unites spiritual and worldly power in one person — a dream which remained unfulfilled for the popes and emperors of the European Middle Ages.
According to doctrine, the Kundun is the visible form (nirmanakaya) of this comprehensive divine power in time; he exists as the earthly appearance of the time god, Kalachakra; he is the supreme “lord of the wheel of time”. For this reason, he was handed a golden wheel as a sign of his omnipotence at his enthronement. He is prayed to as the “ruler of rulers”, the “victor” and the “conqueror”. Even if he himself does not wield the sword, he can still order others to do so, and oblige them to go to war for him.
http://www.trimondi.de/SDLE/Part-2-03.htm
Dalai Lama’s killer sect stomped the other Buddhists with Mongol/tartar magics and treachery.
Following violent strife among the sects of Tibetan Buddhism, the Gelug school emerged as the dominant one, with the military help of the Mongol Güshri Khan in 1642. According to Tibetan historian Samten Karmay, Sonam Chophel[14] (1595–1657), treasurer of the Ganden Palace, was the prime architect of the Gelug's rise to political power. Later he received the title Desi [Wylie: sde-sris], meaning "Regent", which he would earn through his efforts to establish Gelugpa power.
"When I’m at the Potala Monastery
They call me the Learned Ocean of Pure Song;
When I sport in the town,
I’am known as the Handsome Rogue who loves Sex!.
(quoted by Stevens, 1990, p. 78)
The young “poet prince” stood in impotent opposition to the reigning regent, Sangye Gyatso (1653-1705), who claimed the power of state for himself alone. The relationship between the two does not lack a certain piquancy if, following Helmut Hoffmann, one assumes that the regent was the biological son of the “Great Fifth” and thus stood opposed to the Sixth Dalai Lama as the youthful incarnation of his own father.
Nevertheless, this did not prevent him from treating the young “god-king” as a marionette in his power play with the Chinese and Mongolians. When the Dalai Lama expressed own claim to authority, his “sinful activities “ were suddenly found to be so offensive that his abdication was demanded.
Already in the nineteen twenties, the voices of modern western, radical-anarchist artists could be heard longing for and invoking the Buddhocracy of the Dalai Lama. “O Grand Lama, give us, grace us with your illuminations in a language our contaminated European minds can understand, and if need be, transform our Mind …” (Bishop, 1989, p. 239). These melodramatic lines are the work of Antonin Artaud (1896-1948). The dramatist was one of the French intellectuals who in 1925 called for a “surrealist revolution”. With his idea of the “theater of horrors”, in which he brought the representation of ritual violence to the stage, he came closer to the horror cabinet of Buddhist Tantrism than any other modern dramatist. Artaud’s longing for the rule of the Dalai Lama is a graphic example of how an anarchist, asocial world view can tip over into support for a “theocratic” despotism.