Dear Tony

​Our family (Longfist) composite style is Northern (military) - brought into Southern China by Hakka migration. Hakka live in Fujian and Guangdong (Canton), as well as Sichuan, etc. I have met most different Hakka people at various times - all speaking a variant of their Northern (Beijing) dialect mixed with the dialect of the Southern areas they moved into. Hakka are Northern Chinese people who migrated Southward to avoid invaders of China. However, after violently clashing with Southern populations - many (but not all) Hakka families altered the techniques of their gongfu styles (shortening the movements) - so as to disguise it as "Southern" to fit-in with the local populations.

​In Fujian, the Hakka built the now famous "Round-House" forts. Our Hakka (Chin, Chan, Chin - 陳) family moved into the remote South of Guangdong where nodody lived - and so did not have to alter their Northern arts (later, [in the 1890s] this became the British-controlled "New Territories"). They constructed their village in the typical "square" (Confucian) fashion.  My teacher came from the Clan-Leader family and so stood at the front of the four-sided defence formation - in-front of the main-gate. Northern styles, have a certain "taste" to their techniques - regardless of origin. I suspect various Goju Ryu Kata techniques may be "Northern" in origin - inherited through Southern lineages. I liken the Northern techniques to a boulder perched on the edge of a cliff - waiting to effortlessly "drop-off" into empty-space - developing a thunderous force on the way down! Bodyweight and momentum meet at a destructive fine-point! Reloading is achieved through using continuous "big" and "small" circle movement (traversing around the shoulder and pelvic-joints - linked "through the back" - 通背 [Tong Bei] - the defining principle of our Longfist style).

​There is a theory that "Longfist" evolved (and diversified) from the (standardised) "Martial Arts Manual" (recorded as once existing - but now lost) issued by the Qin Dynasty (221-206 BCE) Authorities. Every village in China was converted into a Military Barracks - with every man, woman, and child required to practice the armed and unarmed Longfist Forms on a daily basis (as individuals - and as "co-ordinated" Groups or "Units"). As for the structure of this "official" gongfu - it appears to have been an integration of the hundreds of styles then existing (Ancient China had been a very violent place during the Warring States Period - 475-221 BCE). Hundreds of people stood in strictly maintained straight-lines - all moving in a co-ordinated fashion to the left and then to the right - so that both sides of the body were exercised equally. As everyone had to be in the Qin Army from birth - virtually everyone learned this military method and took it home with them.

​This would provide the basis of "Family" gongfu practice - regardless of the diversifying of the techniques themselves (changed [or altered] for this or that practical reason). Prior to the Qin, many martial arts possessed ritualised ceremonies premised upon hunting - and opening doors to other (spiritual) dimensions. A practitioner allowed the "animal" spirit of the style to possess his or her own body for the duration of the "dance" (our family style is premised upon the spirit of the "Bear"). The Qin realised that prevailing at war was a material process that had to be firmly fought on this "physical" plane. Focusing the martial practice on this attribute was viewed as a practical innovation - although the "spiritual" dimension was not altogether denied - merely shifted in emphasis to the background of affairs. 

​This is where the idea of a standard "Form" originated - with Companies of a "People's Army" all training together throughout China (Qin Dynasty China did not include the Fujian area - as this was cut-off by dense forests, malarial swamps - and incredibly violent [non-Han] indigenous populations). Fujian became slowly settled between 200-500 CE - when explorers hacked their way in from Mainland China - whilst others risked landing on its coasts. Okinawa was already a distant vassal State of China by this time. Perhaps Okinawans visited Fujian prior to its opening-up? 

​The Qin people from North-West China were Han mixed with various barbarian (non-Han) tribes (considered "half-wolf" by Han people) - indeed, the "Qin" (秦) are believed linked to our Hakka "Chin" surname - hence the Hakka violent streak. Another, related theory is that some Hakka people are "Caucasians" formed from invading "Hun" tribes (the Hun were multi-ethnic with Europeans and Asians mixing together) - and on it goes. Many Hakka Chinese people seem typically "Chinese" on the surface - but a few possess a "double-eyelid" (a distinct Western trait) and under their jet-black hair is an underlay of "blonde" hair My partner - Gee - possesses both these traits - as does Liz)! Many modern Koreans mixed with White Americans have developed similar (observable) traits. 

​Thanks

​PS: I hear Master Higaonna Morio was "86" on Christmas Day (2024)! 

Thank you, Tony!

I appreciate your continuous input. I was discussing this movement yesterday with a student. Snake Creeps Down (I wrote this sometime ago) is practiced (as you already known) within many Taijiquan Forms - performed at various heights (or "depths") - high, medium, or low. I remember a Wado Ryu Kata using this stance - but with the weight-bearing foot having the heal "lifted" during execution (see picture attached). I see similar stances (at various heights) in Shotokan. For me, Goju stances are similar to Shaolin - box-like, practical and strong (similar to Xingyiquan) - like our gongfu (Longfist) stances. As always, I am ready for correction - and thank you for it!

My teacher (Master Chan Tin Sang) taught Snake Creeps Down in three broad ways - "high", "medium", and "low". Low is always taught first - as it is the hardest to perform. It is also the most impractical to use in combat - so why do it? Well, the Heart Meridian as defined within Traditional Chinese Medicine (TCM) - is stimulated when the back of the leg is "elongated" and "stretched". This movement increases blood-flow to the tips of the toes from the inner organs, etc, creating a two-way exchange of "qi" (oxygen and bio-electrical) energy. Old qi is expelled - whilst new qi takes its place. I believe this concept has its origins in the "Neijing" [內經] "Internal Classic". 

For combat efficiency (and flow), however, a practitioner must adjust this movement. The stance has to be high or medium (a type of "back-stance") before the elaborate hand application(s) can be effectively deployed. The excellent video-clip you forwarded, for instance, appears to remove the drop-down leg-position completely - and replaces it with a "Horse-Stance" mediated by a number of connecting (natural) stances (varying in height or depth). In our family system a similar approach is applied. When emphasising combat - the drop-stances are performed at a higher-level - as this allows for a more efficient transition between connecting techniques.

Hakka styles tend to be clever but robust - deliberately clashing with strength - when strength is dominant and over-powering. Even placing the weight onto a bent reverse-leg is viewed as "giving ground" - which is okay providing such an action is required. Qinna (擒拿) - "trapping and re-directing" is the principle directing the hand and arm movements. This interpretation will vary from style to style - and even between teachers within the same style.

For every official definition - a student is encouraged to seek-out a hundred more! The lead arm is the leather whip (which "snaps" from the shoulder-joint - although in reality only in the internal sense) - whilst the reverse arm (with its chicken-head-type block) - is the reverse arm. Re-directing, locking enemy joints, and up-rooting the opponent's legs and feet is precisely the applied function of the "Snake Creeps Down" methodology! The medical application is the "internal" - whilst the combat application(s) - is the "external". As I am currently staying in Galmpton (South Devon) - I am exclusively practising my Forms (Katas) whilst on holiday for the Festive Season.

All Best Wishes


Adrian

Dear Tony

I remember watching a documentary about the 8th Dan Grading for modern Kendo in Japan. The World Champion of Kendo - who was in his 50s - was considered "too young" for this grade, and immature. He was driven by ego-achievement and the Panel of Kendo Masters refused to grant him the 8th Dan Grade. He was failed continuously and sent back to his Dojo to continue training. Another example featured an 80-year old Kendo Master who was highly respected - but he was failed for being "too vigorous" ("too youthful") in his approach. The 8th Dan Grading including sparring and a written examination - with both components being equally important. 

A clip was shown of an Old Kendo Master who had attained the 10th Dan. He stood naturally dominating his ground, and with little effort always decisively "struck" his much younger opponents. This Master explained that when 60 his legs stopped working properly (as in his younger days), whilst at 70 his arms stopped working properly (as in his younger days). Whilst at 80 his "awareness" expanded to incorporate his body and entire environment - so that he respond internally and outwardly like a mirror reflecting all that is happening. 

I have met many in the West - and the modern East - who see martial arts as a youthful sport which probably should not be participated in much past 30. Of course, for those of use who continue training well beyond this age (Master Higaonna Morio is an impressive 85) - perhaps our "transitional" experiences might be of some help in a culture that focuses on the young and ignores the elderly. About 20 years ago, a Western American man who was still practicing gongfu at 65 said to me it was as if he had "become" the Style - rather than forcibly practicing the Style from without (like putting on a hat). 

Just some thoughts.

Dear Tony (Sensei)

​Following the Hakka-Punti Clan Wars and the Taiping Uprising (both happening during the mid-1800s) - the Hakka Armies were defeated by the Qing dynasty Forces (following the death of millions) and the Hakka people were consigned into very small areas to live. At this time, to hide their ethnic identity (as Northerners living in the South) many gongfu Masters deliberately "shortened" the movements of their Northern gongfu so that it better resembled the Southern gongfu practiced by the Cantonese people. As my Chan family lived in the remote area of South-East Guangdong (not yet under the control of the British - that area would become the "New Territories" in the 1890s) - we felt no need to shorten our gongfu technique and so we still practice the Longfist of the North.

​This is true of only a minority of Hakka Clans - as many now practice Southern Styles - the product of technical adjustment in the mid-1800s. As many Hakka people do not know their past - they think they have always practiced the shortened Southern Styles but this is not the case. I think a similar situation exists in Fujian province regarding the Hakka - but I have no way of knowing whether this is linked to Suparinpei Kata (and other Goju Ryu kata). From my limited view - Suparinpei (and other Goju Ryu kata) looks like how Longfist is used for close-in fighting. As you know, Longfist is taught at long, middle and short range - with the long-range being on display in the standard Forms. 

I suppose many Hakka Clans that practiced Longfist simply ceased openly practicing the middle and long-range Forms - limiting practice to the close-in range - although this would also include middle-range where applicable. Long-range "reaching" with extended limbs (open arms and legs) was replaced with short and concise shuffle-stepping (moving the torso nearer and away from the opponent whilst keeping the bodyweight firmly "rooted" to the ground). Unfolding (whipping) power was replaced with small-circle force (both drawing force up from the ground - regulated by the breath). This is not a moving away from Hakka Longfist - but rather a focusing on one particular and well-known aspect of it. I think I see all this in the various versions of Suparinpei Kata. 

On Fri, 8 Mar 2024, at 11:57, Charles Johnson wrote:

March 8, 1971: My father took me along with him to the Shrine auditorium to see the first fight between Muhammad ali and Joe Frazier. No fight since has captured the magic of that fight. Two men, both undefeated, and each with a claim of the heavyweight title. And the fight was great. 

 One of my fondest memories with my father.

My Reply:

​When I was young, my Dad got me boxing videos (VHS) which went back to bare knuckle days in the UK - and forward to the US Black domination of the art. Jack Johnson landed a single right upper cut on the body of Tommy Burns that lifted him clean off his feet! More remarkably, Burns landed back on his feet and carried on fighting! I encountered 'The Fight' through those videos and remember Fraser's left hook that floored Ali (my Dad called him both Clay and Ali). That single punch changed history - and Ali would continue after this setback and prove he was one of the greatest! My Dad taught me bare knuckle boxing and said 'They can hurt you and they can kill you - don't worry about the second one - don't show the effects of the first one and win in that way!' My Dad understood that Western Boxing specialised in punching and that I needed this to supplement the (Longfist) gongfu kicking I was learning.

​Interestingly, part of my background has involved the management of violence and thuggery. The UK has a weird mixture of uplifting Socialism (currently under attack) and crushing capitalist oppression. Yin and yang. I have witnessed lots of violence but never been to a professional boxing match - like that which you describe so touchingly. What you have written touched my heart - and is a clear example of your writing ability. Respect to your father - I feel that I met him in those few, well-chosen lines. My problem when young was that I had learned Chinese martial arts movements - but did not yet possess the understanding (or experience) to make them work in combat (I literally 'bounced-off' opponents who remained more bemused rather than hurt or put-off). I learned quickly that Westerners did not like kicking - so that gave me an edge (and to be weary of Gypsy people - as they are tough). In the old days, Chinese gongfu involved kicking practice for a long time (low, middle and high) before punching was introduced. The opposite to how martial arts are taught today - at least in the West.

​My Dad, instead, took me to two professional football games both involving Leicester City (he used to play for them in his youth) - and a Cricket game (Cricket is an old Celtic game that my Dad got good at in his youth despite it being dominated by the middle class snobs who could afford proper clothing) featuring Leicestershire County Cricket Club that was playing in Glastonbury (possibly against Glamorgan). I was once struck on the head by a Cricket bat and can attest to its efficacy! The boy ran away because I stood looking at him. The lump on my forehead was significant to say the least. The Boxers of old taught me to be strong - whilst Black people taught me 'not to show it'. 

​Still, Ali and Frazer inspired me for different reasons and in different ways. I was surprised to find that Fraser's right shoulder was permanently damaged and he had to throw an Orthodox straight right like a jab - but with no real power behind it (as a range-finder). This is why he put so much effort into his smashing lead-left hook! Fraser was also very humble and a true gentleman (important in the UK). It was the politics of Ali I liked. He just happened to wed this with the beat - all round - boxing skills the world has ever seen. I know that Bruce Lee used to watch videos of Ali dancing around the ring - and copied this movement - integrating it into his Jeet Kune Do. I also know that Ali sparred with a high-ranking US Karate-Do practitioner (after his retirement) and was still too-quick for the younger Karate man!

​When I got older, I got bigger and stronger. I became 'nasty' in my own way - particularly as a teenager. I looked mean and hungry - mostly because I was hungry - literally. My family did the best they could in trying circumstance - and yet when I came to live in London amongst affluent people - I could not believe how much food they had to eat! I used to live on about one-third of what they ate - and still pushed myself physically and mentally to prevail. This is why Tommy Hearns inspired me. I copied his 'punching' ability to augment my kicking ability. In the old Longfist Style - kicking is considered more important than punching due to historical reasons in ancient China. I think many old Masters carried swords or spears in their hands - and so kicking supplemented the use of weapons.

However, Master Chan Tin Sang (1924-1993) - who had fought and killed Imperial Japanese soldiers in Hong Kong during WWII - understood that 'punching' was important in the modern world and helped me devise an internal method for replicating what Tommy Hearns quite naturally did. I think Master Chan had seen how effective Karate-punching was as displayed by the Japanese - and it made him think about improvements. When i left home at 16 to go into further education - I encountered many more Black people and found that being able to fight was a respected ability. After some brutal encounters with my brothers - we became very good friends! They respected the ability 'not to show it' - and diplomatic relations developed from their.

​Our Hakka gongfu training requires the carrying of heavyweights upon our backs. This represents the hilly terrain the Hakka people lived within throughout the New Territories, Hong Kong. Hakka Clan villages, especially by the 20th century, were often re-constructed upon the top of various hills situated in prominent good (feng shui) positions. The bones must be kept strong for building good health and ensuring longevity. Strong bones allow the bodyweight to drop down through the centre of the bone-marrow into the floor (creating a strong 'root') - and facilitates the rebounding force which is distributed (throughout the skeletal-system) to the striking part of the anatomy - be it a hand, foot, elbow, knee, fore-head or torso, etc. The Hakka people moved into the Guangdong area (that became the 'New Territories' under the British in the 1890s) in the mid-1600s - following the Manchurian invasion of China (which established the foreign 'Qing Dynasty' during 1644 CE). 

​Our 'Chan' (陳) Clan (pronounced 'Chin' in the Hakka language and 'Chan' in the Cantonese language) originally settled at the base of a hill near the coast in the Sai Kung area. I think we probably originated somewhere in Henan province (like many other Hakka Clans that I have investigated). Younger people often carried older relatives on their backs (as part of the required filial piety) up and down the hills - to and from various areas. Chinese families reflect the government and vice versa. One reflects the other whilst the notion of Confucian 'respect' permeates the entire structure. This is true regardless of political system, era, religion or cultural orientation. Many Daoists and Buddhists are Vegetarian - because they respect animals and the environment. 

When working as farmers - Hakka people carried tools, goods and the products of harvests on their backs between long hours working in the rice fields with the Water Buffalos. The continuous repetition of hand and foot movements - and the standing postures for long hours in the wind and rain - condition the mind and body for genuine Hakka gongfu training. Although there is an 'Iron Ox' gongfu Style (different to our own) - the spirit of the Ox pervades all aspects of the Hakka gongfu styles! Even so, our Hakka Style embodies the spirit of the Bear! We can fighting crouching low - or stand high giving the impression that we are bigger than we actually are! Our developed musculature is like the Ox and the Bear in that it is large, rounded and tough! We can take a beating and still manifest our gongfu Style with ease! We do not go quietly into that dark night! 

The above video shows Hakka people de-husking rise - with the standing person practicing 'Free Stance, rootedness and knee-striking, etc, and the crouching person showing a low Horse Stance and position for 'Squat-Kicking', etc, whilst demonstrating dextrous hand movements often found in gongfu Forms.  Of course, not all Hakka Styles are the same and there is much diversity throughout the Name Clans. Our Chan gongfu is Military-related and can be traced to the Qin Dynasty (221–206 BCE). I think there used to be a State Gongfu Manual (since lost) issued by the Qin Dynasty as part of the process of turning every village, town and city into a 'Barracks'.

​​Guiding the ploughs through the water and mud at the back of the Water Buffalos reflected the leg, arm and torso positions found within the Hakka gongfu. How the Hakka farmers stood still, stepped forward and back - side to side, tensed and relaxed their muscles, used their eyes and ears, and produced power and learned to give-way - all manifested in the various Hakka gongfu Styles. On Occasion, the Ox is given the day-off and the local people take to 'pulling the plough'!

​Our Hakka Gongfu is 'Longfist' based. Whereas many Hakka Clans - following our defeat at the end of the Punti-Hakka Clan Wars (1854-1867 CE) - Hakka people were ethnically cleansed into small areas of Guangdong province. Around 20 million people had died in this terrible war (which included the separate but related Taiping Rebellion - a Hakka-led war - fought for different reasons). The original 'Northern' Hakka Styles were persecuted and viewed as the vehicle through which the Hakka people had made war in the South of China (the area they had migrated into). The Hakka are patriotic Han Chinese migrants who fled the foreign invasion of Northern China - but who were not wanted or welcome within Southern China. Since the 1949 Revolution - things are very different today in China - as Hakka and non-Hakka now live side by side in harmony.

​When the various Hakka Clans 'shortened' the arm and leg movements of their gongfu Styles - to make these arts seem 'Cantonese' in origin - our Hakka Clan lived in a relatively remote area of South East Guangdong province and refused to do this. We practiced our 'Northern' Longfist martial arts in isolation and hid our gongfu in Temples grounds, behind walls and by practicing at night. Master Chan Tin Sang (1924-1993) fought and killed Imperial Japanese soldiers in the New Territories between 1941-1945 using our Hakka gongfu. Around 10,000 Hakka men, women and children were killed in this war fighting the modern Japanese soldiers using bare-hands and feet - and traditional weaponry. Many of our relatives were killed during this time. 

Master Chan Tin Sang came to the UK in 1956 - as a British Subject - to work for a better life, not because China is a bad place (it is not), but because life in the New Territories under British rule was continuously impoverished. Master Chan Tin Sang worked hard for 10-years before he earned enough money to bring his wife and two daughters to the UK (in 1966) - also as British Subjects. My Chinese relatives were NOT economic migrants, Asylum Seekers, or Refugees. My Chinese relatives do not follow Cults and are free-thinking individuals who are proud to be 'British' whilst supporting Mainland China's right to self-determinate - just like any Western country.

All genuine Chinese gongfu (family) lineages possess a TCM (folk) prescription for 'Iron Fighting Wine'! These pages written in Medical Chinese ideograms are highly valued and treasured - even though they possess a number of different (but related) names - all variants of theme! As we value Traditional Okinawan Goju Ryu - this bottle is heading to a very good and esteemed Instructor of that martial art living in the UK! Brewing and bottling Dit Da Jow is a family affair that involves an element of profound spirituality. 

​The funny thing is that component movements of the Islamic martial art of 'Chaquan' looks identical to our 'Hakka' Longfist Style - even down to the applications - but Longfist is generic and certainly not rare! It comprises hundreds (or thousands) of Northern Styles and is common-place (it has even penetrated a number of Southern Styles). We all approach these movements from our different lineage perspectives - but all traditions use the 'external', 'Internal' and 'Integrated' aspects of ancient Chinese science.

​My research suggests that the Qin Dynasty (221-206 BCE) instigated a country-wide martial culture - probably through a specially constructed manual comprised of illustrations and basic directions. As the Qin Emperor expanded the model of the Qin State (originally situated in Northwest China) across the whole of the conquered territories of what is today considered 'China' (which excluded at the time the swamp-infested area of what is now Fujian province) - this 'unity' of culture spread over a massive geographical area and converted every village into a military barracks - and ordered that every local man, women and child became a 'soldier' serving the Qin State whilst having to train in a standardised martial art (both 'armed' and 'unarmed').

This makes Longfist over two-thousand years old - and pre-existing the arrival of Muslims in China by about 1,200 years! The Arab merchants constructed their Chaquan version of Longfist from what they saw around them in the areas of China they had settled within (possibly acquired from the families of the Chinese women they married). Of course, this specialised Longfist was then taught to non-Muslim Chinese people (for various reasons) over-time - so that today Chaquan is practiced by millions of ethnic Han people - as well as Hui Chinese-Muslims. Hakka gongfu is typically 'Confucian' with Buddhist and Daoist overtones. There are theories, however, that suggest the 'Qin' and 'Han' Dynasties may have been 'Hakka' - that is founded by displaced peoples who originally lived on the edges of geographical Northern China (before migrating Southward) and which had developed cultures that mixed 'Han' and 'non-Han' (Barbarian) cultural elements together. 

​This history is disputed, but certainly DNA studies have linked (modern) Hakka women living within South China with (Evenk) women living today in Siberia. Certainly, our Spear Forms were originally practiced (in-part) whilst riding a Steppe pony and gripping and steering the animal with the legs - whilst keeping the hands free to wield the spear from one side to the other without striking the animal's head. Later, when ponies were nolonger available - the 'Horse Stance' was developed to take their place in training. The 'Horse Stance' used to prepare the practitioner by building the lower-body strength for riding a Steppe pony through 'holding' the stance for long periods of time. Today, most practitioners use this method for strength-building - but have no knowledge of the historical development behind its structure.

Person Featured: Adrian Chan-Wyles 

Age: 20-years-old

Location: Back Garden - 29 Siddalls Gardens, Tiverton, Devon EX16 6DG

Time of Year: Late Summer - August-September 

Year: c. 1987

Photographer: Cousin visiting from Oxford - with her family.

I would often practice Shukokai Karate-Do (and our Chinese gongfu family style) in the back garden of my parental home during the Summer Holidays of the academic year (when I was studying at college in Hereford). Master Chan Tin Sang (1924-1993) had given me the task of surreptitiously practicing various lineages of Japanese Karate-Do and studying the Chinese cultural origins of these martial arts! My cousin caught me performing the various 'Katas' - the 'middle' photograph is 'Yoi' in Japanese Karate-Do - or the 'Ready' and 'Alert' posture and attitude assumed prior to (and after completing) the performance of the various 'Pinan' Katas - and then carried-on watching whilst I performed the Chinese gongfu 'Basic Form One' [小形一 - Xiao Xing Yi] (the 'lower-block' performed in 'Horse Stance' in the third photograph on the right) - and the 'flying front-kick' found in the '3rd Advanced Form' (離拳- Li Quan) from our Longfist style (first photograph on the left)! From 1983-1984 I practiced one-year of Wado Kai (Southern Karate-Do) in Reigate and Redhill, I then trained in the Shukokai Karate-Do Federation (SKF) between 1984-1987, and then Okinawan Goju Ryu Karate-Do (1987-1989) - both in Hereford. I also occasionally trained in the odd Dojo here and there around Devon (usually 'Shotokan') and I trained in Goju Ryu in Finchley (North London) a few times. However, as I matured and my mind and body developed into the inner and outer structures required by our family (Hakka) gongfu style - my experiment with other martial arts ended around 1993 as I started moving out of my youthful days. Eventually, once a style is properly practiced - then the inner (chemical) and outer (physical) body transforms into the 'shape' the style requires so that the correct 'functions' (or 'techniques') are developed. This means that eventually the techniques of other styles cannot be practiced in a deep or fundamental manner as the building blocks are completely different. Of course, this does not mean that nothing can be learned from other styles - but the profound knowledge must be transformed (or 'translated') into the dialectical language of the style that has been regularly practiced. In other words, when traditional martial arts are practiced over long periods of time - the inner and outer mind and body 'change' due to the continuous effort being exerted in a particular direction. When young, however, the energy channels in the body are still malleable and flexible - but this changes with age and experience.  

​Dear Tony

I was discussing the idea of 'double-punching' with a student a few days ago - and how often double-punching appears in our Longfist Forms (nearly every other movement) and how many different gongfu Forms retain double-punching! Yang Style Taijiquan retains the double-punch to each temple - although I believe it is termed 'Two Winds Pierce Ears' (双风贯耳 - Shuang Feng Guan Er) to hide the true meaning and intention (there was a lot of this type of colourful or deliberately misleading terminology to befuddle anyone attempting to steal the art).

When I was young, this move was taught to me as 'Fist Ear' (拳耳 - Quan Er) or 'Box the Ears' - even though it has absolutely NOTHING to do with striking the ears! In the local Hakka culture (where water buffaloes abound) - this movement was termed striking with the 'Water Buffalo Horns' (水牛角 - Shui Niu Jiao) or 'Sui Nyiu Gok' in the Hakka language. The two large knuckles of each closed hand 'insert' into the anatomical gaps either side of the forehead which denote the 'temples' (the place where the hair greys on a man and the passing of time is recorded). Hence 'temporal' (or the Latin 'tempus') referring to the 'passing of time', etc. Interestingly, the Chinese language term for 'temple' (as an anatomical designation) is '颞' (nie4) which can be analysed as follows:

a) Left-hand particle = 聶 (nie4) - comprised of '耳' (er3) or 'ear' repeated three times - with one ear stacked upon two ears! The simplified form is '聂' and appears to mean 'whisper into the ear'. 

b) Right-hand particle = 頁 (ye4) or the anatomical human 'head' - and is comprised of:

Top element: '丆' (han3) a variant of '厂' - meaning 'cliff-top'.
Middle element: '自' (zi4) pertaining to the 'self' or 'individual' - a picture of the 'nose'.
Bottom element: ' 儿' (er2) a contraction of '兒' - an infant with an as yet still unformed fontanelle. This may refer to a 'part' or 'area' of the human head that is 'weak' (like an infant) but refers to an anatomical weakness that is retained even within an adult's mature head!

I suspect the ancient doctors (or court scholars) described the 'temple' area either side of the forehead as being like a 'third-ear', but an area which was inherently 'weak' to the touch - and which retained this 'weakness' into adulthood. The Taijiquan teachers then talk of the disembodied power (rebounding bodyweight directed by intention - fed through an aligned posture) leaving the fist and 'passing through' the thin temple area (like a strong 'breeze') into the location of the 'third ear'! Perhaps the 'awareness' generated in these parts of the brain-mind nexus (just inside the temple areas) was considered a 'type of hearing' by the ancient anatomists in China. Certainly, the capacity to 'hear' within Chinese martial arts practice involves more than just 'hearing' with the ears! 

Thanks

Adrian