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”.

The Ahianmwẹ-Ọrọ, meaning ‘bird of prophecy’ in English, is a bird with a long beak believed to be a messenger of the spirit world. If it cries ‘OyaO’ (disgrace), it portends danger or disaster. If it cries ‘Oliguegue’ (be grateful), it portends good favour, fortune, or luck. If it persistently cries ‘OyaO, OyaO’ in front of someone, it is prophesying that the person should be cautious and should not undertake a journey, or should return home rather than continue. But if the bird cries ‘Oliguegue’ continuously, the journey will be favourable.

In 1515, as Ọba Ẹsigie passed through the gates of Benin on his way to fight the Attah (king) of Idah, the Ahianmwẹ-Ọrọ made discouraging sounds overhead, ‘OyaO, OyaO’, portending that disaster lay ahead. The Ọba ordered the bird to be killed and went on to win the war. He said, ‘Nẹ O gha yin Agbon, ghẹi daho Ahianmwẹ notiẹ oya’ (whoever wishes to succeed in life should not heed the bird of prophecy). On the Ọba’s triumphant return from battle, he commissioned the Igun-Eronmwon to make an image of the bird on the finial of a battle standard to remind it that the Ọba was not subject to the fate of ordinary spirits (personal communication, Patrick Oronsaye, 2022).

The identification of which bird the Ahianmwẹ-Ọrọ represents has been a subject of scholarly debate throughout the 20th century. Some have suggested that the bird is an African pied wagtail (Melzian 1937, p. 5), an ibis (Dark 1962, p. 46), possibly a kind of kingfisher (Ben-Amos 1976, p. 252), a hornbill (McCall 1975, p. 293), or, lastly, a white-tailed ant thrush (Nevadomsky 1988, pp. 76–77). In the case of the Ahianmwẹ-Ọrọ, however, Joseph Nevadomsky (1988, p. 77) posited that the exact species being represented was in fact less important. Instead, the aim was to “convey certain notions about the supernatural powers of the Ọba” and that the physical attribute (e.g., the long beak) was in fact the Ọba Ẹsigie’s casters’ way of seeking to “emphasise its vocal powers of prophecy, and, perhaps more importantly, the overcoming of these powers by the Ọba.”