The fist motif—particularly a clenched fist with an extended thumb—carries significant symbolic weight. It is central to the cult of the hand, a major aspect of Edo religion that focuses on an individual’s ability to achieve success through their own actions, skills, and enterprise ( ). This cult is primarily observed by those who have already attained considerable wealth or status, including hunters, warriors, and craftsmen.

The fist symbolises physical prowess and strength, denoting the individual’s might and accomplishment ( ). The hand is credited with enabling the accumulation of great riches and high status. This is sometimes linked to the idea that wealth results from both personal effort and the favour of Olokun, the god of wealth. On Ukhurhẹ (ancestral staffs), a clenched fist or hand grasping a mudfish signifies royal or chiefly authority. The image of a hand holding a coiled mudfish can also illustrate the Ọba’s formidable power to “cast and then release a curse” or to “set up obstacles and remove them” ( ). The fist is sometimes accompanied by other motifs symbolising strength, chieftaincy, and longevity, such as tools like the hammer and pliers or feathers of the vulturine fish eagle ( ). The fist motif is frequently depicted on Aken'ni Elao (carved tusks), on wooden Ikẹgobọ (altars to the hand), and on Ukhurhẹ.

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”.