Ancient Greek kylix showing a hoplite offering a sacrifice before an altar, around 480 BC. Ancient Agora Museum of Athens in the Stoa of Attalus

The ancient Altar of Pergamon, reconstructed at the Pergamon museum, Berlin.

The Opferstein or Sacrifice Rock at Maria Taferl, Austria. It was used by the ancient Celts to make sacrifices upon and is now located in the plaza of the basilica there.

An altar is any structure upon which offerings such as sacrifices are made for religious purposes. Altars are usually found at shrines, and they can be located in temples, churches and other places of worship. Today they are used particularly in Christianity, Buddhism, Hinduism, Shinto, Taoism, as well as in Neopaganism and Ceremonial Magic. Judaism did so until the destruction of the Second Temple. Many historical faiths also made use of them, including Greek and Norse religion.

In the Hebrew Bible[link]

Horned altar at Tel Be'er Sheva, Israel.

Altars (Hebrew: מזבח‎, mizbe'ah, "a place of slaughter or sacrifice")^[1] in the Hebrew Bible were typically made of earth ^[2] or unwrought stone.^[3] Altars were generally erected in conspicuous places.^[4][5][6][7] The first altar recorded in the Hebrew Bible is that erected by Noah .^[8] Altars were erected by Abraham,^[9] by Isaac,^[10] by Jacob,^[11] and by Moses,^[12] (Adonai-nissi).

After the theophany on Mount Sinai, in the Tabernacle—and afterwards in the Temple—only two altars were used: the Altar of Burnt Offering, and the Altar of Incense.

Christianity[link]

Dedication of an altar

The word "altar", in Greek θυσιαστήριον (see:θυσία), appears twenty-four times in the New Testament. Significantly, Hebrews 13:10 ^[13] shows Christians having an altar of which those who did not believe in Jesus could not partake, a reference to the eternal, once-for-all sacrifice of Jesus Christ, thus fulfilling the sacrificial laws of the Old Testament. In Catholic and Orthodox Christian theology, the Eucharist is a re-presentation, in the literal sense of the one sacrifice being made "present again". Hence, the table upon which the Eucharistic meal (the Bread and the Wine) is eaten is called an altar.

Altars occupy a prominent place in the sanctuaries of many churches, especially those belonging to the ancient Christian traditions, such as the Eastern Orthodox, Oriental Orthodox, Assyrian, Roman Catholic, and Anglican Churches. They are also found in many Protestant worship places. It plays a central role in the celebration of the Eucharist. A priest (or minister in Protestant circles) celebrates at the altar, on which the bread and the wine are placed.

The area around the altar is seen as endowed with greater holiness, and is usually physically distinguished from the rest of the church, whether by a permanent structure such as an iconostasis, a rood screen or altar rails, by a curtain that can be closed at more solemn moments of the liturgy, as in the Armenian Apostolic Church and Armenian Catholic Church, or simply by the general architectural layout. The altar is often on a higher elevation than the rest of the church. In Reformed and Anabaptist churches, a table, often called a "communion table", serves an analogous function. In some colloquial usage, the word "altar" is used to denote the altar rail also, although this usage is technically incorrect.

Churches generally have a single altar, although in the West, where concelebration had formerly fallen into disuse and priests always celebrated Mass individually, larger churches have had one or more side chapels, each with its own altar. The main altar was also referred to as the "high altar". Since the revival of concelebration in the West, the Roman Missal recommends that in new churches there should be only one altar, "which in the gathering of the faithful will signify the one Christ and the one Eucharist of the Church."^[14] But most existing Western churches, whether Roman Catholic or Anglican, may have a high altar in the main body of the church, with one or more adjoining chapels, each with its own altar, at which the Eucharist may be celebrated on weekdays.

Architecturally, there are two types of altars: those that are attached to the eastern wall of the chancel, and those that are free-standing and can be walked around, for instance when incensing the altar.

Early Coptic altar carved into the wall of the Temple of Isis on the island Philae in Egypt.

In the earliest days of the Church, the Eucharist appears to have been celebrated on portable altars set up for the purpose. Some historians hold that, during the persecutions, the Eucharist was celebrated among the tombs in the Catacombs of Rome, using the sarcophagi (see sarcophagus) of martyrs as altars on which to celebrate. Other historians dispute this, but it is thought to be the origin of the tradition of placing relics beneath the altar.

When Christianity was legalized under Constantine the Great and Licinius, formal church buildings were built in great numbers, normally with free-standing altars in the middle of the sanctuary, which in all the earliest churches built in Rome was at the west end of the church. "When Christians in fourth-century Rome could first freely begin to build churches, they customarily located the sanctuary towards the west end of the building in imitation of the sanctuary of the Jerusalem Temple. Although in the days of the Jerusalem Temple the High Priest indeed faced east when sacrificing on Yom Kippur, the sanctuary within which he stood was located at the western end of the Temple. The Christian replication of the layout and the orientation of the Jerusalem Temple helped to dramatize the eschatological meaning attached to the sacrificial death of Jesus the High Priest in the Epistle to the Hebrews."^[15] The ministers (bishop, priests, deacons, subdeacons, acolytes), celebrated the Eucharist facing east, towards the entrance. Some hold that for the central part of the celebration the congregation faced the same way. After the sixth century the contrary orientation prevailed, with the entrance to the west and the altar at the east end. Then the ministers and congregation all faced east during the whole celebration; and in Western Europe altars began, in the Middle Ages, to be permanently placed against the east wall of the chancel.

In Western Christian churches[link]

Altar of Santa Cecilia in Trastevere

Most rubrics, even in books of the seventeenth century and later, such as the Pontificale Romanum, continued to envisage the altar as free-standing. The rite of the Dedication of the Church ^[16] continued to presume that the officiating Bishop could circle the altar during the consecration of the church and its altar. Despite this, with the increase in the size and importance of the reredos, most altars were built against the wall or barely separated from it.

In almost all cases, the eastward orientation for prayer was maintained, whether the altar was at the west end of the church, as in all the earliest churches in Rome, in which case, the priest celebrating Mass faced the congregation and the church entrance, or whether it was at the east end of the church, in which case the priest faced the eastern apse and had his back to the congregation. This diversity was recognized in the rubrics of the Roman Missal from the 1604 typical edition of Pope Clement VIII to the 1962 edition of Pope John XXIII: "Si altare sit ad orientem, versus populum …" ^[17]

The present rules regarding the Ordinary Form of the Roman Rite liturgy declare a free-standing main altar to be "desirable wherever possible." ^[18] Similarly, in the Anglican Communion, the rubrics of the Book of Common Prayer assumed an altar fixed against the wall, until Prayer Book revision in the twentieth century removed language which assumed any particular form of altar.

Altar and reredos from University Church, Dublin

As well as altars in the structural sense, it became customary in the West to have what in Latin were referred to as altaria portatilia (portable altars), more commonly referred to in English as "altar stones". When travelling, a priest could take one with him and place it on an ordinary table for saying Mass. They were also inserted into the centre of structural altars especially those made of wood. In that case, it was the altar stone that was considered liturgically to be the altar. The Pontificale Romanum contained a rite for blessing at the same time several of these altar stones.^[19] In the East the antimension served and continues to serve the same purpose. In the West, the obligation to use one for the celebration of Mass has not been encouraged.

The term "movable altar" or "portable altar" is now used of a full-scale structural altar, with or without an inserted altar stone, that can in fact be moved.^[20]

Such altars are found in Roman Catholic churches awaiting restructuring from an arrangement in which a priest celebrated Mass at a remote high altar, usually facing away from them, to one in which he is closer to the congregation and generally facing them. Both Catholic and Protestant churches use them to celebrate the Eucharist in places other than a church or chapel (such as outdoors or in an auditorium). In those Protestant churches in which the focus of worship is not on the Eucharist, which may be celebrated rarely, and in churches which want to make use of both a fixed and free-standing altar at different services, they are not only movable but are in fact occasionally moved. Churches that have adhered to the Protestant Reformation have favoured as altars free-standing wooden tables placed in the quire away from the east wall and the high altar, and without any altar stone.

Roman Catholic churches[link]

High altar of St. Michael's Church, Munich

The Eastern Catholic Churches each follow their own traditions, which in general correspond to those of similar Eastern Orthodox or Oriental Orthodox Churches. The rules indicated here are those of the Latin Church.

The Latin Church distinguishes between fixed altars (those attached to the floor) and movable altars (those that can be displaced), and states: "It is desirable that in every church there be a fixed altar, since this more clearly and permanently signifies Christ Jesus, the Living Stone (1 Peter 2:4; cf. Ephesians 2:10). In other places set aside for sacred celebrations, the altar may be movable."^[21]

A fixed altar should in general be topped by a slab of natural stone, thus conforming to tradition and to the significance attributed to the altar, but in many places dignified, well-crafted solid wood is permitted; the supports or base of a fixed altar may be of any dignified solid material. A movable altar may be of any noble solid material suitable for liturgical use.^[22]

The liturgical norms state:

It is fitting that the tradition of the Roman liturgy should be preserved of placing relics of martyrs or other saints beneath the altar. However, the following should be noted:

a) Relics intended for deposition should be of such a size that they can be recognized as parts of human bodies. Hence excessively small relics of one or more saints must not be deposited.

b) The greatest care must be taken to determine whether relics intended for deposition are authentic. It is better for an altar to be dedicated without relics than to have relics of doubtful credibility placed beneath it.

c) A reliquary must not be placed on the altar or in the table of the altar but beneath the table of the altar, as the design of the altar may allow.^[23]

This last norm explicitly excludes the practice customary in recent centuries of inserting relics into a specially created cavity within the table of an altar or altar stone. Placing of relics even in the base of a movable altar is also excluded.^[24]

"In building new churches, it is preferable for a single altar to be erected, one that in the gathering of the faithful will signify the one Christ and the one Eucharist of the Church. In already existing churches, however, when the old altar is so positioned that it makes the people's participation difficult but cannot be moved without damage to artistic value, another fixed altar, skillfully made and properly dedicated, should be erected and the sacred rites celebrated on it alone. In order that the attention of the faithful not be distracted from the new altar the old altar should not be decorated in any special way."^[25]

The altar, fixed or movable, should as a rule be separate from the wall so as to make it easy to walk around it and to celebrate Mass at it facing the people. It should be positioned so as to be the natural centre of attention of the whole congregation.^[26]

The altar should be covered by at least one white cloth, and nothing else should be placed upon the altar table other than what is required for the liturgical celebration. Candlesticks and a crucifix, when required, can be either on the altar or near it, and it is desirable that the crucifix remain even outside of liturgical celebrations.^[27]

Anglican churches[link]

The altar in St. Mary Anglican Church, Redcliffe, Bristol. It is decorated with a frontal in green, a colour typically associated with the seasons after Epiphany and Pentecost. Note the rood screen behind the free-standing altar.

Altars in the Anglican Communion vary widely. At the time of the Reformation, altars were fixed against the east end of the church, and the priests would celebrate the Mass standing at the front of the altar. Beginning with the rubrics of the Second Prayer Book of Edward VI published in 1552, and through the 1662 Book of Common Prayer (which prevailed for almost 300 years), the priest is directed to stand "at the north syde of the Table [altar]." This was variously interpreted over the years to mean the north side of the front of a fixed altar, the north end of a fixed altar (i.e., facing south), the north side of a free-standing altar (presumably facing those intending to receive the Elements who would be sitting in the quire stalls opposite), or at the north end of a free-standing altar placed lengthwise in the chancel, facing a congregation seated in the nave.

Often, where a celebrant chose to situate himself was meant to convey his churchmanship (that is, more Reformed or more Catholic). The use of candles or tabernacles were banned by canon law, with the only appointed adornment being a white linen cloth.

The altar with ciborium at All Saints Anglican church, Bristol, England

Beginning with the Catholic Revival in the 19th century, the appearance of Anglican altars took a dramatic turn in many churches. Candles and, in some cases, tabernacles were reintroduced. In some churches two candles, on each end of the altar, were used; in other cases six - three on either side of a tabernacle, typically surmounted by a crucifix or some other image of Christ.

Altar at Grace Cathedral, San Francisco

In Anglican practice, conformity to a given standard depends on the ecclesiastical province and/or the liturgical sensibilities of a given parish. In the Parson's Handbook, an influential manual for priests popular in the early-to-mid-twentieth century, Percy Dearmer recommends the size of an altar be "as nearly as possible 3 ft. 3 in. high, and at least deep enough to take a corporal [the square of linen placed underneath the Communion vessels] 20 in. square with a foot or more to spare." He also recommends that the altar stand upon three steps for each of the three sacred ministers, and that it be decorated with a silk frontal in the seasonal colour. In some cases, other manuals suggest that a stone be set in the top of wooden altars, in the belief that the custom be maintained of consecrating the bread and wine on a stone surface. In many other Anglican parishes, the custom is considerably less rigorous, especially in those parishes which use free-standing altars. Typically, these altars are made of wood, and may or may not have a solid front, which may or may not be ornamented. In many Anglican parishes, the use of frontals has persisted.

When altars are placed away from the wall of the chancel allowing a westward orientation, only two candles are placed on either end of it, since six would obscure the liturgical action, undermining the intent of a westward orientation (i.e., that it be visible to the congregation). In such an arrangement, a tabernacle may stand to one side of or behind the altar, or an aumbry may be used.

Sensibilities concerning the sanctity of the altar are widespread in Anglicanism. In some parishes, the notion that the surface of the altar should only be touched by those in holy orders is maintained. In others, there is considerably less strictness. Nonetheless, the continued popularity of altar rails in Anglican church construction suggests that a sense of the sanctity of the altar and its surrounding area persists. In most cases, moreover, the practice of allowing only those items that have been blessed to be placed on the altar is maintained (that is, the linen cloth, candles, missal, and the Eucharistic vessels).

Protestant Churches[link]

Altar at the Jesus Church in Valby, Copenhagen.

A wide variety of altars exist in various Protestant denominations. Some Churches, such as Lutheran and Methodist will have altars very similar to Anglican or Catholic ones keeping with their more sacramental understanding of the Lord's Supper. In Protestant churches from Reformed, Baptist, Congregational, and Non-denominational backgrounds, it is very common for the altar-like table to have on it only an open Bible and a pair of candlesticks; it is not referred to as an "altar" because they do not see Communion as sacrificial in any way. Many of these groups use a very simple wooden table, known as a Communion Table, adorned perhaps with only a lengthwise linen cloth, again to avoid any suggestion of a sacrifice being offered. Such Communion Tables often bear the inscription: "Do This in Remembrance of Me",^[28][29] which they believe indicates Holy Communion as being a memorial rather than a sacrament. Such a table is normally not consecrated or blessed in any manner, and may be temporary, being moved into place only when there is a Communion Service. Most Protestant denominations have no altar or Communion Table at all, the sanctuary being dominated only by a large, centralized pulpit.

Contemporary altar at Bavnehøj.

Some evangelical churches practice what is referred to as an altar call, whereby those who wish to make a new spiritual commitment to Jesus Christ are invited to come forward publicly. It is so named because the supplicants gather at the altar located at the front of the church (however, the invitation is referred to as an "altar call", despite the fact that most Protestant denominations which have this practice do not have altars or Communion tables). Most altar calls occur at the end of the sermon. Those that come forward will usually be asked to recite a sinner's prayer, which, in the Protestant understanding, if truly heart-felt indicates that they are now "saved". They may also be offered religious literature, counselling or other assistance. Many times it is said that those who come forth are going to "be saved". This is a ritual in which the supplicant makes a prayer of penitence (asking for his sins to be forgiven) and faith (called in Protestantism "accepting Jesus Christ as their personal Lord and Savior").

Altar calls may also invite those who are already fully members of the Christian community to come forward for specific purposes other than conversion; for example, to pray for some need, to rededicate their lives after a lapse, or to receive a particular blessing (such as the Gifts of the Holy Spirit) or if they are called to certain tasks such as missionary work.

Altars in Lutheran churches are often similar to those in the Roman Catholic and Anglican churches. Lutherans believe that the altar represents Christ and should only be used to consecrate and distribute the Eucharist.^[30] Lutheran altars are commonly made out of granite, but other materials are also used. A crucifix is to be put above the altar.^[30] Sometimes relics are also placed around the altar.^[31]

Eastern Christian churches[link]

Eastern Orthodox and Eastern Catholic (Byzantine)[link]

A traditional Russian Orthodox Holy Table (Altar), Church of the Saviour on the Blood, St. Petersburg

"Altar" has a meaning in the Eastern Orthodox and Eastern Catholic churches that varies with context. Its most common usage does not denote the table itself, but the area surrounding it; that is to say, the entire sanctuary. This includes both the area behind the iconostasis, and the soleas (the elevated projection in front of the iconostasis), and the ambo. When one enters the sanctuary, one is said to be "going into the altar". The altar table itself may be referred to as either the Holy Table or the Throne (Prestól). This section will describe the Holy Table, not the sanctuary.

For both Orthodox and Eastern Catholics, the Holy Table (altar) is normally free-standing, although in very small sanctuaries it might be placed flush against the back wall for reasons of space. They are typically about one meter high, and although they may be made of stone they are generally built out of wood. The exact dimensions may vary, but it is generally square in plan and in reasonable proportion to the size of the sanctuary. It has five legs: one at each corner plus a central pillar for supporting the relics which are placed in it at its consecration (if, however, the consecration was not performed by a bishop, but by a priest whom he delegated for that purpose, relics are not placed in the Holy Table). A plain linen covering (Greek: Katasarkion, Slavonic: Strachítsa) is bound to the Holy Table with cords; this cover is never removed after the altar is consecrated, and is considered to be the "baptismal garment" of the altar. The linen covering symbolizes the winding sheet in which the body of Christ was wrapped when he was laid in the tomb. Since the altar is never seen uncovered thereafter, the table tends to be constructed more with sturdiness than aesthetics in mind. Above this first cover is a second ornamented altar cloth (Indítia), often in a brocade of a liturgical color that may change with the ecclesiastical season. This outer covering usually comes all the way to the floor and represents the glory of God's Throne.^[32] In many churches it is the custom for a dust cover to be placed on the Holy Table between services. This is often a simple red cloth, though it may be made of richer stuff. Sometimes it covers only the Gospel Book or the front half of the Holy Table, but it may be large enough to cover the entire Holy Table and everything on it, including candlesticks and the seven-branch candelabra.

The Holy Place (Sanctuary) in the church of the Saint Vladimir Skete Valaam monastery. To the left is the Holy Table (altar) with the Gospel Book on the High Place. The Tabernacle is on the right side of the Holy Table, and the seven-branch candlestand is immediately behind it. The Table of Oblation is in the background to the left. To the right is the Cathedra (Bishop's Throne).

Atop the altar is the tabernacle (Kovtchég), a miniature shrine sometimes built in the form of a church, inside of which is a small ark containing the Reserved sacrament for use in communing the sick. Also kept on the altar is the Gospel Book. Under the Gospel is kept the antimension, a silken cloth imprinted with an icon of Christ being prepared for burial, which has a relic sewn into it and bears the signature of the bishop. Another, simpler cloth, the ilitón, is wrapped around the antimension to protect it, and symbolizes the "napkin" that was tied around the face of Jesus when he was laid in the tomb (forming a companion to the strachitsa). The Divine Liturgy must be served on an antimension even if the altar has been consecrated and contains relics. When not in use, the antimension is left in place in the center of the Holy Table and is not removed except for necessity.

The Holy Table may only be touched by ordained members of the higher clergy (bishops, priests and deacons), and nothing which is not itself consecrated or an object of veneration should be placed on it. Objects may also be placed on the altar as part of the process for setting them aside for sacred use. For example, icons are usually blessed by laying them on the Holy Table for a period of time or for a certain number of Divine Liturgies before sprinkling them with holy water, and placing them where they will be venerated. The Epitaphios on Good Friday, and the Cross on the Feasts of the Cross, are also placed on the Holy Table before they are taken to the center of the church to be venerated by the faithful.

In place of the outer covering, some altars have a permanent solid cover which may be highly ornamented, richly carved, or even plated in precious metals. A smaller brocade cover is used on top of this if it is desired that the altar decoration reflect the liturgical season.

A contemporary Byzantine Catholic altar during the Divine Liturgy at St. Joseph Church in Chicago, Illinois.

The Holy Table is used as the place of offering in the celebration of the Eucharist, where bread and wine are offered to God the Father and the Holy Spirit is invoked to make his Son Jesus Christ present in the Gifts. It is also the place where the presiding clergy stand at any service, even where no Eucharist is being celebrated and no offering is made other than prayer. When the priest reads the Gospel during Matins (or All-Night Vigil) on Sunday, he reads it standing in front of the Holy Table, because it represents the Tomb of Christ, and the Gospel lessons for Sunday Matins are always one of the Resurrection appearances of Jesus.

On the northern side of the sanctuary stands another, smaller altar, known as the Table of Oblation (Prothesis or Zhértvennik) at which the Liturgy of Preparation takes place. On it the bread and wine are prepared before the Divine Liturgy. The Prothesis symbolizes the cave of Bethlehem and also the Anointing stone at which the Body of Christ was prepared after the Deposition from the Cross. The Table of Oblation is also blessed, sprinkled with holy water and vested at the consecration of a church, but there are no relics placed in it. Nothing other than the sacred vessels, veils, etc. which are used in the Liturgy of Preparation may be placed on the Table of Oblation. The Epitaphios and Cross are also placed on the Table of Oblation before the priest and deacon solemnly transfer them to the Holy Table. In addition to the higher clergy, subdeacons are permitted to touch the Table of Oblation, but no one of lesser rank may do so. The Table of Oblation is the place where the deacon will consume the remaining Gifts (Body and Blood of Christ) after the Divine Liturgy and perform the ablutions.

Armenian Apostolic[link]

Altar in the Armenian cathedral in Echmiatsin.

In the Armenian Apostolic Church the altar is placed against the eastern wall of the church, often in an apse. The shape of the altar is usually rectangular, similar to Latin altars, but is unusual in that it will normally have several steps on top of the table, on which are placed the tabernacle, candles, ceremonial fans, a cross, and the Gospel Book.

War altar[link]

A war altar was a mobile altar on which Mass was celebrated before a battle. The ultimate example is the carroccio of the medieval Italian city states, which was a four-wheeled mobile shrine pulled by oxen and sporting a flagpole and a bell. The carroccio also served as the army standard.

Altar stones were used by army chaplains of the Latin Church in the period leading up to the 20th century.

Hinduism[link]

This unreferenced section requires citations to ensure verifiability.

Murugan temple in Roermond, Netherlands.

In Hinduism, altars generally contain pictures or statues of gods and goddesses. Large, ornate altars are found in Hindu temples while smaller altars are found in homes and sometimes also in Hindu-run shops and restaurants. The word for temple is mandir (san: मन्दिर), the altar (and that which contains it, even an alcove or a small cabinet) as hypostatised temple.

In South Indian temples, often each god will have His or Her own shrine, each contained in a minitature house (specifically, a mandir). These shrines are often scattered around the temple compound, with the three main ones being in the main area. The statue of the God (murti) is placed on a stone pedestal in the shrine, and one or more lamps are hung in the shrine. There is usually a space to put the puja tray (tray with worship offerings). Directly outside the main shrine there will be a statue of the god's vahana or vehicle. The shrines have curtains hung over the entrances, and wooden doors which are shut when the Deities are sleeping. Some South Indian temples have one main altar, with several statues placed upon it.

A family altar in India.

North Indian temples generally have one main altar at the front of the temple room. In some temples, the front of the room is separated with walls and several altars are placed in the alcoves. The statues on the altars are usually in pairs, each god with his consort (Radha-Krishna, Sita-Rama, Shiva-Parvati). However, some gods, such as Ganesha and Hanuman, are placed alone. Ritual items such as flowers or lamps may be placed on the altar.

Home shrines can be as simple or as elaborate as the householder can afford. Large, ornate shrines can be purchased in India and countries with large Hindu minorities, like Malaysia and Singapore. They are usually made of wood and have tiled floors for statues to be placed upon. Pictures may be hung on the walls of the shrine. The top of the shrine may have a series of levels, like a gopuram tower on a temple. Each Hindu altar will have at least one oil lamp and may contain a tray with puja equipment as well. Hindus with large houses will set aside one room as their puja room, with the altar at one end of it. Some South Indians also place a shrine with pictures of their departed relatives on the right side of the room, and make offerings to them before making offerings to the gods.

Taoism[link]

An Ikuantaoist altar.

Taoist altars are erected to honor traditional deities and the spirits of ancestors. Taoist altars may be erected in temples or in private homes. Strict traditions describe the items offered and the ritual involved in the temples, but folk custom in the homes is much freer.

Nearly all forms of Chinese traditional religion involve baibai (拜拜)--bowing towards an altar, with a stick of incense in one's hand.^[33] (Some schools prescribe the use of three sticks of incense in the hand at one time.^[34] ) This may be done at home, or in a temple, or outdoors; by an ordinary person, or a professional (such as a Daoshi 道士); and the altar may feature any number of deities or ancestral tablets. Baibai is usually done in accordance with certain dates of the lunar/solar calendar (see Chinese calendar).

At certain dates, food may be set out as a sacrifice to the gods and/or spirits of the departed. (See, for example, Qingming Festival and Ghost Festival.) This may include slaughtered pigs and ducks, or fruit. Another form of sacrifice involves the burning of Hell Bank Notes, on the assumption that images thus consumed by the fire will reappear—not as a mere image, but as the actual item—in the spirit world, and be available for the departed spirit to use. In Taoist folk religion, sometimes chickens, pigs feet, and pig heads are given as offerings. But in orthodox Daoist practice, offerings should essentially be incense, candles and vegetarian offerings.^[35]

Buddhism[link]

A butsudan at ShinDo Buddhist Temple

In Buddhism, a butsudan is an altar found in temples or homes. The butsudan is a wooden cabinet with doors that enclose and protect a religious image of the Buddha or the Bodhisattvas (typically in the form of a statue) or a mandala scroll, installed in the highest place of honor and centered. The doors are opened to display the image during religious observances. A butsudan usually contains subsidiary religious items—called butsugu—such as candlesticks, incense burners, bells, and platforms for placing offerings such as fruit. Some buddhist sects place "ihai," memorial tablets for deceased relatives, within or near the butsudan. Butsudans are often decorated with flowers.

The shrine is placed in the temple or home as a place of worship to the Buddha, the Law of the Universe, etc. Scrolls (honzon) or statues are placed in the butsudan and prayed to morning and evening. Zen Buddhists also meditate before the butsudan.

The original design for the butsudan began in India, where people built altars the size of skyscrapers^{[citation needed]} as an offering-place to the Buddha. When Buddhism came to China and Korea, statues of the Buddha were placed on pedestals or platforms. The Chinese and Koreans built walls and doors around the statues to shield them from the weather. They could then safely offer their prayers, incense, etc. to the statue or scroll without it falling and breaking.

When the Japanese finally welcomed Buddhism after many years of Shintoism, they took in the religion along with the butsudan. As many new Buddhist sects came into being, the butsudan was placed in many temples. The Japanese took the plain walls and doors of the mainland shrines and elaborately embellished them, and the butsudan became the focal point of every temple. As time went on, people began installing butsudans into their homes. Butsudan are extremely expensive.

Shinto[link]

A Shinto Kamidana (household altar) in Japan. Note the shimenawa, a rope demarking the sanctuary area shown above.

In Shinto, altars are found in shrines. Originating in ancient times, himorogi are temporarily erected sacred spaces or "altars" used as a locus of worship. A physical area is demarcated with branches of green bamboo or sakaki at the four corners, between which are strung sacred border ropes (shimenawa). In the center of the area a large branch of sakaki festooned with sacred^{[citation needed]} emblems (hei) is erected as a yorishiro, a physical representation of the presence of the kami and toward which rites of worship are performed.

In more elaborate cases, a himorogi may be constructed by placing a rough straw mat upon the ground, then erecting a ceremonial eight-legged stand (hakkyaku an) upon the mat and decorating the stand with a framework upon which are placed sacred border ropes and sacred border emblems. Finally the sakaki branch is erected in the center of this stand as the focus of worship.

Norse paganism[link]

A basic altar, called a Hörgr was used for sacrifice in Norse paganism. The Hörgr was constructed of piled stones, possibly in a wood (harrow), and would be used in sacrifices and perhaps other ceremonies as well.

A possible use of the hörgr during a sacrifice would be to place upon it a bowl of the blood of an animal sacrificed to a Norse deity (e.g. a goat for Thor, a sow for Freyja, a boar for Freyr), then dipping a bundle of fir twigs into it and sprinkling the participants with the blood. This would consecrate the attendees to the ceremony, such as a wedding.

Neopaganism[link]

In Neopaganism there is a wide variety of ritual practice, running the gamut from a very eclectic Syncretism to strict Polytheistic reconstructionism. Many of these groups make use of altars. Some are constructed merely of rough-hewn or stacked stone, and some are made of fine wood or other finished material.

Wicca[link]

Asatru[link]

In Nordic Neo-Pagan practice, altars may be set up in the home or in wooded areas in imitation of the Hörgr of ancient times. They may be dedictated to Thor, Odin, or other Nordic deities.

Neo-Druidism[link]

Modern Neo-Druidism may also make use of altars, often erected in groves. Though little is known of the specific religious beliefs and practices presided over by the ancient Druids, modern people who identify themselves as Druids are free to incorporate their imagination in developing ceremonies and the use of ritual objects in keeping with their belief system. The "Order of Common Worship" of the Liturgy of the Druids ^[36] (New Reformed Druids of North America) calls for a fire to be started "in or near the altar" and makes use of various objecs such as a chalice, staves, and a plant offering. If no altar is used, the objects may be placed on the ground.

High places[link]

High places are elevated areas on which altars have been erected for worship in the belief that, as they were nearer heaven than the plains and valleys, they are more favourable places for prayer. High places were prevalent in almost all ancient cultures as centers of cultic worship.

High places in Israelite (Hebrew: Bamah, or Bama) or Canaanite culture were open-air shrines, usually erected on an elevated site. Prior to the conquest of Canaan by the Israelites in the 12th–11th century BC, the high places served as shrines of the Canaanite fertility deities, the Baals (Lords) and the Asherot (Semitic goddesses). In addition to an altar, matzevot (stone pillars representing the presence of the divine) were erected.^[37]

The practice of worship on these spots became frequent among the Hebrews, though after the temple was built it was forbidden. Such worship was with difficulty abolished, though denounced time after time by the prophets as an affront to God. A closely related example is a "backyard" altar, so to speak. Before there was a set temple and an established altar people built their own altars. After the temple was built use of these altars was forbidden. Unlike the previous case, "backyard" altar worship was quickly eradicated.

See also[link]

• Altar candle
• Altar cards
• Altar Crucifix
• Altars in Latin America
• Altar rails
• Altar stone
• Altarpiece
• Analogion
• Ara Pacis
• Back-choir
• Carroccio
• Cathedral diagram
• Ciborium (architecture)
• Consecration
• Credence table
• Iconostasis
• Predella
• Prothesis
• Reredos
• Sacrament
• Sacred architecture
• Shrine

Notes[link]

References[link]

• This article incorporates text from the public domain 1907 edition of The Nuttall Encyclopædia.
• This article incorporates text from Easton's Bible Dictionary (1897), a publication now in the public domain.

External links[link]

Look up altar in Wiktionary, the free dictionary.

Wikimedia Commons has media related to: Altar

• Altars (in Scripture) from the Catholic Encyclopedia
• History of the Christian Altar from the Catholic Encyclopedia
• An essay on a Hindu Home Altar
• Taoist Great Ritual Offerings to the All-Embracing Heaven
• How to Build an Altar (Ofrenda) for Dia de los Muertos
• Thor Stalli Neo-Pagan altar to Thor

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (February 2011)

Jeanie Tracy is a female African American R&B, Dance-pop, Hi-NRG and house singer-songwriter and actress, born in Houston, Texas and raised in Fresno, California.

Career[link]

Growing up Tracy sang in a church and school choir in addition to studying opera and classical piano. Tracy moved to San Francisco and quickly began singing in night clubs and special events. Tracy went on to do the lead role in Sing Mahlia Sing upon Jennifer Holliday leaving the show, and director George Coates Right Mind. Tracy was noticed by Harvey Fuqua who hired to her to write and produce for gospel group Voices of Harmony on his Milk and Honey record label. Tracy provided vocals for the experimental soundtrack of Francis Ford Coppola's film, Apocalypse Now.^[1]

In the early 1980s, Harvey Fuqua put Tracy with fellow mentor Sylvester, where she sang backgrounds with Martha Wash and Izora Armstead, better known as the Two Tons of Fun, leading to the 1981 duet with Sylvester, "Here Is My Love", and "Give it Up" for Fantasy Records. Tracy traveled the world with Sylvester and the girls and sang backup with them and as well for the Ton's projects. The following year Fantasy released her first album, Me and You. The same year Tracy featured as lead singer on trumpeter Freddie Hubbard's album Splash. In 1984, she performed on the hit Television Show Star Search where she was a semi-finalist in the Female Vocalist category. She was then summed by San Francisco based Producer Narada Michael Walden to provide vocals on some of the top recording artist in the industry such as Aretha Franklin, Whitney Houston, Mariah Carey, Tevin Campbell, Shaunice Wilson, and many others. She also worked with Narada's Protege Walter Affanasieff, on some of the top Movie soundtracks such as Hunch Back of Notre dame, Snow Dogs, Michael Bolton, Grover Washington, Peobo Bryson, Celine Dion and many others. Tracy provided lead vocals for the Disney Movie Channels theme song..The Wonderful World of Disney. Tracy also did the voice of Bantu the Snake and Kimmie the Cat in the PBS Children's weekly series, called The Adventures of KangaRoddy. She was summoned yet again by Carlos Santana to sing on his big return cd SUPERNATURAL with fellow artist Tony Lindsay," The Calling ", this gleaned her a second Grammy, and singing on the Titanic soundtrack with Celine Dion garnering her the first Grammy. She had two hits on the US Billboard Hot Dance Club Play chart in the mid-1980s. Those singles were "Time Bomb" and "Don't Leave Me This Way" which peaked at #22 on that chart.

After a hiatus from caring for her ailing friend Sylvester, Tracy returned, releasing her second album, It's My Time in 1995 in the UK on Pulse-8 records. The album scored a underground hit with the title track in the States. After releasing a steady stream of increasingly popular singles, Tracy experienced a career resurgence in the late 1990s which resulted in two Top 20 US Billboard Hot Dance Music/Club Play with "Can't Take My Eyes Off of You" (1998) and "Keep The Party Jumpin'" (1999) with producers Frank Abraham and Jimmy Markee on the San Francisco based AM Records. It was through AM records that Tracy was introduced to Ralphi Rosario and Abel Aguillera. In 2001, her collaboration with Rosabel (DJ's Ralphi Rosario and Abel), "The Power", spent one week at number one. In June 2004, she again reached number one on the Hot Dance Music/Club Play chart with "Cha Cha Heels", another collaboration with Rosabel and TommyBoy Records.

Tracy's third number one Billboard Hit came in February 2007 with "Party People", a collaboration with Brazilian producers Altar. Party People went on to be on at least twenty compilations and was chosen in the hit Universal Films " Bring it On 5 with Christina Milian in the most important part of the film(the competition). The success of her singles in recent years has prompted her, and her producers, to plan a possible full length album. If it materialized, it would be her first album in over a decade. Tracy's follow up single, "Everybody Up", also produced by Altar, was released in April 2008. In 2010, she appeared on TV One's Unsung program about Sylvester. Also doing the BBC television documentary "The Queens of Disco" and another BBC Television documentary "The Joy of Disco". Tracy has just finished an interview for a book, More, More More, The First Ladies Of Disco and another published book about her mentor and friend The Fabulous Sylvester. Jeanie loves to sing songs that inspire and Motivate.....This is Jeanie Tracy.

Discography[link]

Albums[link]

• Me and You (1982) Fantasy Records
• It's My Time (1995) Pulse-8

Singles[link]

• "Making New Friends" (1975)
• "Here Is My Love" / "Give It Up (Don't Make Me Wait)" (1981, with Sylvester)
• "Me and You" (1982)
• "Can I Come Over And Play With You Tonight" (1983)
• "Time Bomb" (1984)
• "Manhunt" (1984)
• "Don't Leave Me This Way" (1985)
• "Living For The City" (1986)
• "Earthquake" (1987)
• "Fire" (1987)
• "Do You Want My Love"
• "I Found Love" (1990)
• "Funkin' With Your Emotions" / "Picture This" (1991)
• "It's My Time" (1993)
• "If This Is Love" (1994) - UK #73^[2]
• "Do You Believe In The Wonder" (1994) - UK #57^[2]
• "Crying In My Sleep" / "Do The Right Thing" / "Do You Wanna Be" (1995)
• "It's a Man's Man's Man's World" (1995, duet with Bobby Womack) - UK #73^[2]
• "Answer My Prayer" (1998)
• "Hang In There Baby" (1998)
• "Can't Take My Eyes off of You" (1999)
• "Keep The Party Jumpin'" (1999)
• "The Power" (2001)
• "Cha Cha Heels" (2004)
• "Party People" (2007)
• "Everybody Up" (2008)
• "Turn it Out" (2009) w/ Altar
• "Feel Good" (2010) w/Edson Pride

Compilations[link]

• A Night in Orbit - DJ Manny Lehman (1999) 4Play Records
• Circuit 2K V.1 - DJ Frank Abraham (1999) AM Records
• Circuit 2K V.2 - DJ Frank Abraham (1999) AM Records

See also[link]

• List of number-one dance hits (United States)

1. The Power 2. Cha Cha Heels 3. Party People

• List of artists who reached number one on the US Dance chart

References[link]

External links[link]

• - Jeanie's Official Website
• - Jeanie's MySpace Page
• [http://www.facebook.com/jeanietracy

"Tricia Brock" redirects here, for the director of the same name see Tricia Brock (director).

Superchick
Background information
Also known as	Superchic[k]
Origin	Chicago, Illinois, United States
Genres	Christian rock, pop punk
Years active	1999—present
Labels	Columbia, Inpop
Website	www.superchickonline.com
Members
Max Hsu Tricia Baumhardt Matt Dally Dave Ghazarian Chase Lovelace
Past members
Melisa Brock Clayton Hunt Brian Fitch Justin Sharbono Andy Vegas Dave Clo Ben Dally Brandon Estelle

Superchick, originally known as Superchic[k], is an American Christian alternative pop/rock band. Their music incorporates various styles such as pop, punk, rock, rap, and R&B. Their sound has been compared to mainstream artists No Doubt and Avril Lavigne with a heavier sound.^[1] Superchick has had five songs reached No. 1 on music charts,^[1] and their song "Stand in the Rain" held the No. 1 spot for nine weeks on R&R Christian Hit Radio (CHR) chart in 2006/2007.

History[link]

Superchick made their debut in 1999 at an Audio Adrenaline concert in front of an audience of 5,000. They continued to perform at live events throughout that year, self-releasing their first album in 2000. The album was re-released with three added remix tracks after they signed to Inpop Records, and became their first official album: Karaoke Superstars. Since then, their music has appeared in several movies and television shows, including the movie Legally Blonde, the made for TV Disney movie Cadet Kelly, and the recent movie To Save a Life. Superchick signed with mainstream record label Columbia Records to promote their 2005 album Beauty From Pain, resulting in their 2006 mainstream debut Beauty From Pain 1.1.^[2] The re-release album contains their signature hit "Stand in the Rain".^[2] Their music has received favorable reviews in both Christian and mainstream publications. On December 4, 2008, Superchick was nominated for their first Grammy Award. The group was recognized in the category of "Best Rock Or Rap Gospel Album" for their 2008 album, Rock What You Got which is now featured on "ABC Family's" new hit show "Make it or Break it". The band launched their "Hey! Hey! (That's Freedom You Hear)" Tour on April 3, 2009.^[3] On June 7, 2011 lead singer Tricia Brock released her debut solo album entitled The Road.

Members[link]

Current[link]

Tricia Brock in Dallas, 2008

Superchick in Dallas, 2008

• Tricia Baumhardt (formerly Brock) (lead vocals)
• Matt Dally (bass guitar, rap vocals, synthesizer)
• Dave Ghazarian (lead guitar), formerly of Church Of Rhythm
• Max Hsu (DJ, keyboards, songwriter), formerly of Church of Rhythm & Zero
• Chase Lovelace (drums)

^[4]

Former[link]

• Clayton Hunt (drums - sixth)
• Brian Fitch (drums - third)
• Justin Sharbono (guitar)
• Andy Vegas (drums - first, percussion, bass guitar)
• Dave Clo (bass guitar, acoustic guitar)
• Ben Dally (drums - second)
• Brandon Estelle (drums - fifth), Currently the lead singer of Glory Fall and drummer for 10 Years.
• Melissa Brock (rhythm guitar, harmony vocals), now fronting Rosebud
• Aaron Tosti (drums - fourth)

Discography[link]

Studio albums

• Karaoke Superstars
• Last One Picked
• Beauty from Pain
• Rock What You Got

Headlining Tours[link]

• This Is Your Anthem Tour (early 2006)
• Live Love Tour (October to December 2006)
• Generation Rising Tour (early 2007)
• SHOUTfest Tour (late 2007)
• Rockin' Around The Christmas Tree Tour (December 2007)
• Cross the Line Tour (March to May 2008)
• Rock What You Got Tour (July to November 2008)
• Hey, Hey - That's Freedom You Hear Tour (started April 2009)
• Alive Tour (early 2010)

References[link]

Ray Boltz (born 1953 in Muncie, Indiana, United States) is a singer-songwriter who first came to wide notice in contemporary Christian music, many of his songs tell stories of faith and inspiration. He was raised by his parents William and Ruth Boltz, and was married to his wife Carol Boltz for over 30 years prior to coming out as gay in 2008. They have four children.

Boltz was virtually unknown when he wrote "Thank You", which won the Song of the Year prize at the 1990 GMA Dove Awards.^[1] His song "I Pledge Allegiance to the Lamb" also won a Dove Award for Inspirational Recorded Song of the Year at the 25th GMA Dove Awards in 1994. After the release of Songs from the Potter's Field in 2002, and his last tour in 2004, Boltz retired from the music industry and moved to Fort Lauderdale, Florida.

In a September 2008 interview with the Washington Blade, Boltz came out of the closet and announced he was gay^[2] Since then, Boltz has performed at several churches of the Metropolitan Community Church, a gay-affirming Christian denomination.^[3]

In 2010, he released the album True, which won Album of the Year at the OUTMusic Awards.^[4]

Discography[link]

Charts[link]

Album - Billboard (North America)

Awards[link]

Boltz has been the recipient of two song awards from the Gospel Music Association's Dove Awards. "Thank You" received the 1990 Song of the Year award, and "I Pledge Allegiance to the Lamb" received the 1994 award for Inspirational Song. He also was one of various artists contributing to God with Us: A Celebration of Christmas Carols & Classics, which won the 1997 award for Special Event Album.

References[link]

External links[link]

• Ray Boltz — official website
• My Heart Goes Out Carol Boltz blog

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