Ikele is a single stiff string or circlet of coral beads. It is worn by chiefs, such as senior chiefs who have been made Enigie (Inneh 2007, p.107), and is a sign of nobility and rank. The Ikele may only be worn once the Ọba has conferred a person with the right to wear the beads, and the Ikele must always be worn when appearing before the Ọba. According to Ekhaguosa Aisien (in Plankensteiner 2007, cat. nr. 301, p.512) when a chief is wearing the Ikele, they may not eat nor drink in public, and they “constitute an embassy of the Benin Palace wherever he might be.”

Itakpa facial markings consist of three linear cicatrizations at both corners of the mouth of figures, sometimes described as “cat’s whiskers” by scholars researching Benin art history (e.g., Willett 1967, pp. 67–70; Nevadomsky 1986, p. 41). Edo people do not, and did not historically, wear this type of facial marking. Therefore, it has been suggested that these figures could be messengers or envoys sent to the Kingdom of Benin by the Ooni of Ife, as similar facial markings have been seen on terracotta sculptures from Ife (Willett 1967). However, during Joseph Nevadomsky’s (1986, p. 41) research in Benin City, people identified these markings as Itakpa, a kind of facial marking worn by people from areas to the north of the Benin Kingdom, where the Niger and Benue rivers meet, such as the Nupe, Igala, or some Yoruba communities. Furthermore, in his 1937 Edo-English dictionary, Melzian (p. 102) identified Itakpa as the Edo word for the Nupe. During the 16th century, Ọbas led expansion wars, such as the Idah War in 1515–16 under the rule of Ọba Esigie; therefore, the attribution of figures with these markings as ‘foreigners’ corresponds with the history of the Kingdom.

The Umọmọ is an L-shaped hammer made of iron that holds profound importance, symbolising power, transformation, and spiritual efficacy. The hammer is fundamentally associated with Ogun, the god of iron, embodying “the force inherent in metal, [with] a mystical power with the potential to create or destroy” ( ). This dual aspect of the hammer—its capacity for both shaping and destruction—mirrors the formidable power of the Ọba. The L-shaped hammer is often associated specifically with Ọba Eresonyẹn, as it most commonly appears within the visual language of Emwin Arhe (royal treasures) that he commissioned, for example, held by Ewua figures and on one ornate cast Ẹrhẹ, thought to have been Ọba Eresonyẹn’s throne (id. no. 209779) ( ).

The hammer is notably held by figures identified as Ewua palace officials or Ohensa priests, who also wear a cross pendant on their chests. The consistent portrayal of these figures holding the Umọmọ underscores its connection to the origins of the Benin dynasty and the spiritual authority of the Ọba. Ọba Esigie, the powerful 16th-century “warrior king”, is credited with encouraging ironworking, further solidifying the hammer’s link to royal martial strength and divine kingship.

Appearing on Aken'ni Elao (carved ivory tusks), Ama-Ẹrọnmwọn (bronze relief plaques), and even as a charm, the hammer symbolises the Ọba’s ability to “mold and transform” events, to overcome challenges, and to provide spiritual protection ( ). Its presence thus reinforces the complex interplay of hierarchy, spiritual authority, and military might within the Benin Kingdom, consistent with other potent symbols such as the Akọn Ẹkpẹn (leopard’s tooth neck ornament). The Umọmọ often appears on Emwin Arhe (royal treasures) believed to have been commissioned during the reign of Ọba Eresonyẹn ( ; ).

Other terms for hammer in Edo are Avan or Avalaka ( ), which are used interchangeably with Umọmọ by members of the Igun-Ẹrọnmwọn.