Odigba (coral-beaded collar) is a rigid neck collar made of coral beads, worn as part of ceremonial attire only by senior princes who have been made Enigie (Inneh 2007, p. 107). Although Ibafe (2007, p. 43) argued that the Odigba was introduced during the Ogiso period (c. 900–c. 1170 AD) by Ogiso Ere, along with other symbolically important Emwin Arhe, such as the Ada (ceremonial sword) and the Ẹbẹn (ceremonial sword), this seems unlikely, as coral was only introduced in the late 15th century through trade with Portuguese merchants.

The Ewu ivie (coral bead shirt) is made of strings of coral beads. This heavy shirt was part of the ceremonial regalia worn only by a small number of high-ranking members of the palace: the Ọba, the Edaiken, the Iy’Ọba, and the Ezọmọ (Girshick Ben-Amos 1999, p. 68). The Ewu ivie would be worn along with the Odigba (coral bead collar).

The Ubanu'hi (infinity symbol) is a kind of guilloche or interlaced strapwork motif that can be angular or rounded. It was used by Edo artists in the decoration of many Emwin Arhe (royal treasures) and is ubiquitous in Benin royal arts. Ubanu'hi is a shortened form of “uba no Ọba ya de agbon ke ehimwin yi”, which means “the rope with which the Ọba ties the heaven and earth together” (pers. comm. Chief John Igbineweka Inneh n’Igbesawman, 2022). Similarly, Paula Ben-Amos Girshick (in Plankensteiner 2007, pp. 339, 341) described this as “Ọba n’iri agbon”, or the “rope of the world” pattern.

According to Ọbabanmu Ineh (in Blackmun 1984, p. 51), the use of this motif indicates that objects were carved by members of the Igbesanmwan. However, the motif is found on all types of Emwin Arhe (royal treasures), not only those made of ivory or wood. On the flanges of the Ama (relief plaques) alone, Kathryn Gunsch (2018, pp. 75–77) identified three different versions of the Ubanu'hi and, through her analysis of over 850 plaques, found that these different Ubanu'hi forms align with other characteristics, such as dimensions, the prevalence of ornamental motifs, and stylistic qualities. Together, these provide evidence, she argues, of different production groups among the plaque makers .

Kate Ezra (1992, pp. 209, 264) went on to argue that the use of these motifs indicates that certain objects were used in a “royal context” and were associated with “royal patronage”.

Although many other members of the Benin royal court wore a variety of hats and forms of headwear, only the Ọba may wear the Ẹde (beaded crown). The Ọba must never be seen bare-headed, and successive Ọbas introduced different styles and types of crowns ( ).

Across different media and objects, Ọbas are depicted wearing various types of crowns, all elaborately crafted from coral beads. Some feature tall projections rising from the crown, known as Oro, while others have curved projections extending from either side of the head, known as the winged cap. The latter was introduced only in the 19th century, most likely by Ọba Osẹmwẹndẹ ( ). Depictions of Ọba Esigie on Ama-Ẹrọnmwọn (bronze relief plaques) show him wearing an elaborate crown decorated with large jasper or coral beads ( ).

The Benin people use beads as one of their most important ceremonial body ornaments. There are coral and stone beads, which came mostly from long distance trade. The bead workers of Benin kingdom are called Enisen and they specialise in the art of bead making, particularly the royal regalia. Different types of beads are also worn for various ceremonies. The greatest honour anyone can get in Benin kingdom and from the Oba is to be decorated with a bead, the Ikele - a symbol of nobility.

Depictions of Ewi (mudfish) are among the most frequent motifs in the Emwin Arhe (royal treasures). Mudfish hold an important place in Edo belief, both as representations of the god Olokun and as symbols of royalty (Plankensteiner 2007, p. 410), as well as of “prosperity, peace, well-being and fertility” (Ben-Amos 1976, p. 245). Mudfish are also particularly common animals for sacrifice, and mudfish-shaped Orhiẹvbẹ (kola-nut boxes) were used to make offerings or store kola nuts.

Yet, the appearance of Ewi across the Emwin Arhe is not consistent, and it has been argued that different species of mudfish were depicted by Edo artists, each with different qualities and capabilities. For example, the electric shock of Malapterurus electricus resembles the fierceness of the Ọba, while the liminal qualities of the Synodontis clarias mudfish, which lives both on land and in water, similarly reflect the Ọba’s rule over land and sea (Gallagher 1983, p. 93). With these different qualities in mind, the mudfish is an important symbol of Benin kingship and royalty.

Sometimes the Ọba was depicted by artists with mudfish rather than legs (see Ọba with Mudfish Legs).

Ebe Amẹ refers to a wide variety of plants, particularly the leaves of the water fern or river leaf, found in riverine areas of southern Nigeria ( ). Artists from the Igun-Ẹrọnmwọn used these as a decorative motif in the background of most Ama-Ẹrọnmwọn (bronze relief plaques). The petals of the Ebe Amẹ, like the points of the ἀghàdàgháda (crossroads), represent the four cardinal directions: north, east, south, and west. The number four plays a foundational role in the Edo calendar, which is structured around four market days ( ).

This motif of an Ọba with legs represented as two mudfish is often interpreted as Ọba Ohẹn, who reigned c. 1334–1370. According to oral traditions, Ohẹn suffered from paralysis of the legs and unsuccessfully attempted to conceal his condition from the chiefs and members of the royal court. The Iyasẹ Emuze eventually hid in the Ọba’s chambers to discover his secret ( ). When Ohẹn discovered this, he ordered the Iyasẹ to be executed. However, the people learned of the order and turned against the Ọba. According to the tradition, they plotted to kill him ritually by digging a hole beneath his throne and stoning him with Orhue (white kaolin chalk) when he fell into it ( ; ).

Not all representations of an Ọba with mudfish legs, however, are understood to refer to Ohẹn. Variations in the objects and animals carried by the figure are thought to indicate different meanings ( ; ). Members of the Igbesamwan and Igun-Ẹrọnmwọn have emphasised the significance of these accompanying motifs (Blackmun 1984, pp.249–255). When the mudfish-legged Ọba is shown holding aquatic creatures such as crocodiles, for example, the image has been interpreted as a “cosmological image” representing the correspondence between the two monarchs: the Ọba of Benin, ruler of the land, and Olokun, ruler of the waters ( ). By contrast, representations in which the Ọba holds swords or staffs have been interpreted specifically as depictions of Ọba Ohẹn.