Question: When did the city where Zeng Fanzhi works fall?

full_context: Document 1: Yan Xing (artist): Yan Xing (Chinese characters: 鄢醒, born 1986) is an artist known for performance, installation, video and photography. He grew up in Chongqing and currently lives and works in Beijing and Los Angeles.
Document 2: Zeng Fanzhi: Zeng Fanzhi (; born 1964) is a contemporary Chinese artist based in Beijing. From the earliest stages of his career, his paintings have been marked by their emotional directness, the artist's intuitive psychological sense, and his carefully calibrated expressionistic technique. Moving to Beijing in the early 1990s, Zeng's art displayed an immediate shift, responding to his immersion in a more superficial environment, his seminal Mask series displaying the tensions between the artist's dominant existential concerns and an ironic treatment of the pomposity and posturing inherent to his new contemporary urban life. Throughout, Zeng's expressionistic techniques run counter to such techniques' conventional usage. That is, Zeng's representation of raw, exposed flesh or awkwardly oversized hands is not an attempt at pure emotional expression, but instead play against the superficially composed appearances of his subjects, an ironic treatment of emotional performance as a metaphor for a lost self, of stunted self-realization.
Document 3: Jin Nong: Born in 1687 in Hangzhou, Jin Nong (金農) became popular as a painter and calligrapher while living as a childless widower in Yangzhou in his sixties. His paintings of "mei" blossoms were in particular demand there. Heralded as one of The Eight Eccentrics of Yangzhou, Jin favored the amateur scholar style. A nonconformist, he generally painted more traditional images laden with symbolism (such as orchids, bamboo, chrysanthemums, and mei blossoms) and preserved his independence by selling works in an open market, rather than adopting an individual patron. Later styles included Buddhist imagery. However, Jin was the first artist in the Chinese tradition to paint a large number of self-portraits and did earn money through the patronage of wealthy individuals in Yangzhou who, in addition to buying works, were possible publishers for his numerous writings. Jin probably understood these contradictions as he argued that living off of painting should not be considered dishonorable.
Document 4: Qing dynasty: The newly allied armies captured Beijing on June 6. The Shunzhi Emperor was invested as the "Son of Heaven" on October 30. The Manchus, who had positioned themselves as political heir to the Ming emperor by defeating the rebel Li Zicheng, completed the symbolic transition by holding a formal funeral for the Chongzhen Emperor. However the process of conquering the rest of China took another seventeen years of battling Ming loyalists, pretenders and rebels. The last Ming pretender, Prince Gui, sought refuge with the King of Burma, but was turned over to a Qing expeditionary army commanded by Wu Sangui, who had him brought back to Yunnan province and executed in early 1662.
Document 5: Xu Bing: Born in Chongqing in 1955, Xu grew up in Beijing. His father was the head of the history department at Peking University. In 1975, near the end of the Cultural Revolution, he was relocated to the countryside for two years as part of Mao Zedong's "re-education" policy. Returning to Beijing in 1977, he enrolled at the Central Academy of Fine Arts(CAFA) where he joined the printmaking department and also worked during a short period of time as a teacher, receiving his Masters in Fine Art in 1987. After the Tiananmen Square Protests of 1989 his recent work came under scrutiny from the government and received harsh criticism for what was perceived as a critique of the Chinese government. Due to the political pressure and artistic restrictions of the post-Tiananmen period in China, Xu Bing, like many of his contemporaries, moved to the United States in 1990 where he was invited by the University of Wisconsin–Madison. He then resided to the United States until his appointment as vice-president of the Beijing CAFA in 2008.
Document 6: Shi Jinsong: Shi Jinsong (born 1969, Dangyang County Hubei Province, China) is a Chinese artist based in Wuhan and Beijing. He studied at Hubei Academy of Fine Arts in China where he majored in sculpture and mastered an array of traditional styles and techniques. He graduated in 1994.
Document 7: Qing dynasty: The dynasty was founded by the Jurchen Aisin Gioro clan in Manchuria. In the late sixteenth century, Nurhaci, originally a Ming vassal, began organizing Jurchen clans into "Banners", military-social units. Nurhaci formed these clans into a unified entity, the subjects of which became known collectively as the Manchu people. By 1636, his son Hong Taiji began driving Ming forces out of Liaodong and declared a new dynasty, the Qing. In 1644, peasant rebels led by Li Zicheng conquered the Ming capital Beijing. Rather than serve them, Ming general Wu Sangui made an alliance with the Manchus and opened the Shanhai Pass to the Banner Armies led by Prince Dorgon, who defeated the rebels and seized Beijing. The conquest of China proper was not completed until 1683 under the Kangxi Emperor (r. 1661–1722). The Ten Great Campaigns of the Qianlong Emperor from the 1750s to the 1790s extended Qing control into Central Asia. While the early rulers maintained their Manchu ways, and while their official title was Emperor they were known as khans to the Mongols and patronized Tibetan Buddhism, they governed using Confucian styles and institutions of bureaucratic government. They retained the imperial examinations to recruit Han Chinese to work under or in parallel with Manchus. They also adapted the ideals of the tributary system in international relations, and in places such as Taiwan, the Qing so-called internal foreign policy closely resembled colonial policy and control.
Document 8: Nguyễn Phan Chánh: Painting on silk is considered to be a traditionally Chinese art form, although Chanh argued it ‘expressed the national (Vietnamese) character to the highest degree’ and goes on to talk about the enthusiastic reception given to his and other artists in their exhibition in Hanoi, 1954-1955, where opinion stated that the paintings were ‘neither Chinese, Japanese or French.‘ (i.e. that they were distinctively Vietnamese). The emphasis given to silk painting being an art form which effectively expresses Vietnam’s national identity reflects the political context of the times, and the directives from Truong Chinh (Marxism and Vietnamese Culture) and Ho Chi Minh, that art should follow the socialist agenda and be a form of propaganda, glorifying the peasants and soldiers of Vietnam.
Document 9: Qing dynasty: Ming government officials fought against each other, against fiscal collapse, and against a series of peasant rebellions. They were unable to capitalise on the Manchu succession dispute and installation of a minor as emperor. In April 1644, the capital at Beijing was sacked by a coalition of rebel forces led by Li Zicheng, a former minor Ming official, who established a short-lived Shun dynasty. The last Ming ruler, the Chongzhen Emperor, committed suicide when the city fell, marking the official end of the dynasty.
Document 10: Qing dynasty: The early Manchu rulers also established two foundations of legitimacy which help to explain the stability of their dynasty. The first was the bureaucratic institutions and the neo-Confucian culture which they adopted from earlier dynasties. Manchu rulers and Han Chinese scholar-official elites gradually came to terms with each other. The examination system offered a path for ethnic Han to become officials. Imperial patronage of Kangxi Dictionary demonstrated respect for Confucian learning, while the Sacred Edict of 1670 effectively extolled Confucian family values. The second major source of stability was the Central Asian aspect of their Manchu identity which allowed them to appeal to Mongol, Tibetan and Uighur constituents. The Qing used the title of Emperor (Huangdi) in Chinese while among Mongols the Qing monarch was referred to as Bogda khan (wise Khan), and referred to as Gong Ma in Tibet. Qianlong propagated the image of himself as Buddhist sage rulers, patrons of Tibetan Buddhism. In the Manchu language, the Qing monarch was alternately referred to as either Huwangdi (Emperor) or Khan with no special distinction between the two usages. The Kangxi Emperor also welcomed to his court Jesuit missionaries, who had first come to China under the Ming. Missionaries including Tomás Pereira, Martino Martini, Johann Adam Schall von Bell, Ferdinand Verbiest and Antoine Thomas held significant positions as military weapons experts, mathematicians, cartographers, astronomers and advisers to the emperor. The relationship of trust was however lost in the later Chinese Rites controversy.
Document 11: Qing dynasty: In 1725 Yongzheng bestowed the hereditary title of Marquis on a descendant of the Ming dynasty Imperial family, Zhu Zhiliang, who received a salary from the Qing government and whose duty was to perform rituals at the Ming tombs, and was also inducted the Chinese Plain White Banner in the Eight Banners. Later the Qianlong Emperor bestowed the title Marquis of Extended Grace posthumously on Zhu Zhuliang in 1750, and the title passed on through twelve generations of Ming descendants until the end of the Qing dynasty.
Document 12: Qing dynasty: First, the Manchus had entered "China proper" because Dorgon responded decisively to Wu Sangui's appeal. Then, after capturing Beijing, instead of sacking the city as the rebels had done, Dorgon insisted, over the protests of other Manchu princes, on making it the dynastic capital and reappointing most Ming officials. Choosing Beijing as the capital had not been a straightforward decision, since no major Chinese dynasty had directly taken over its immediate predecessor's capital. Keeping the Ming capital and bureaucracy intact helped quickly stabilize the regime and sped up the conquest of the rest of the country. However, not all of Dorgon's policies were equally popular nor easily implemented.
Document 13: Xing Xin: Xing Xin, (Chinese 幸鑫; born 25 May 1981, in Chongqing, China), is a contemporary Chinese artist based in Chengdu, Sichuan Province, China, involved in installation and performance art. Xing Xin started as a performance artist in 2003, with an academic background in sculpture, and is currently teaching performance art, video art, and installation in Sichuan Fine Arts Institute.
Document 14: Qing dynasty: To extend and consolidate the dynasty's control in Central Asia, the Kangxi Emperor personally led a series of military campaigns against the Dzungars in Outer Mongolia. The Kangxi Emperor was able to successfully expel Galdan's invading forces from these regions, which were then incorporated into the empire. Galdan was eventually killed in the Dzungar–Qing War. In 1683, Qing forces received the surrender of Taiwan from Zheng Keshuang, grandson of Koxinga, who had conquered Taiwan from the Dutch colonists as a base against the Qing. Zheng Keshuang was awarded the title "Duke Haicheng" (海澄公) and was inducted into the Han Chinese Plain Red Banner of the Eight Banners when he moved to Beijing. Several Ming princes had accompanied Koxinga to Taiwan in 1661-1662, including the Prince of Ningjing Zhu Shugui and Prince Zhu Honghuan (朱弘桓), son of Zhu Yihai, where they lived in the Kingdom of Tungning. The Qing sent the 17 Ming princes still living on Taiwan in 1683 back to mainland China where they spent the rest of their lives in exile since their lives were spared from execution. Winning Taiwan freed Kangxi's forces for series of battles over Albazin, the far eastern outpost of the Tsardom of Russia. Zheng's former soldiers on Taiwan like the rattan shield troops were also inducted into the Eight Banners and used by the Qing against Russian Cossacks at Albazin. The 1689 Treaty of Nerchinsk was China's first formal treaty with a European power and kept the border peaceful for the better part of two centuries. After Galdan's death, his followers, as adherents to Tibetan Buddhism, attempted to control the choice of the next Dalai Lama. Kangxi dispatched two armies to Lhasa, the capital of Tibet, and installed a Dalai Lama sympathetic to the Qing.
Document 15: Yuan Xikun: Yuan Xikun (born 1944 in Kunming, Yunnan Province) is a Chinese visual artist and environmental activist. In 2011, Yuan proposed building a giant sculpture composed of sand collected from five of earth's continents and water from its Arctic and Antarctic regions to draw attention to ozone depletion and climate change.
ground_truth: June 6
sub_queries: Zeng Fanzhi >> work location Answer: Beijing
When did Beijing fall? Answer: June 6