The trunk hand motif, comprising an elephant’s trunk ending in a fist, is believed to have complex and varied symbolic meanings. During the 15th and 16th centuries, the era of the warrior kings, the motif appeared only occasionally. During the 18th century, it was revived to honour the richest of all Ọbas, Ọba Akenzua I. This was particularly the case on the Aken'ni Elao (carved tusks), and the trunk hand motif commonly appears on these ivories from the 18th century and throughout the 19th and into the 20th centuries ( ). In her PhD thesis, Barbara Blackmun ( ) identified eight different kinds of motifs of this type on the Aken’ni Elao alone, indicating that the form itself is variable. In addition to the ivory Aken’ni Elao, the motif also commonly appears on the flanges of Uhunmwu-Elao (commemorative heads), the bases of Urhotọ (altar tableaux), and some ornately decorated bronze Ukhurhẹ (ancestral staffs).

The elephant trunk hand has been interpreted as a symbol of physical power ( ) and strength ( ), and as the “ultimate Hand of Hands” ( ). A past Ihama n’Igun-Ẹrọnmwọn ( ) interpreted the motif as a symbol of “taking life”. On some Emwin Arhe (royal treasures) where the trunk hand motif is present, depictions of human sacrifices are also present, representing the ultimate power held by the divine Ọbas. The potent nature of the trunk hand motif is further emphasised by Barbara Blackmun through the combination of “the head of one of the most powerful animals with a hand that grasps with enormous strength”; together, these signify “the acquisition of great wealth for the kingdom” ( ).

These motifs are sometimes interpreted as Uzo (antelopes) but also as Emila (cows). Both animals share certain characteristics, being regarded as physically beautiful and peaceful creatures. Some Orhiẹvbẹ (kola-nut bowls) take the form of an antelope head with its horns grasped by a pair of hands, a gesture that symbolises the right of humans to sacrifice antelopes and cows with impunity (Ben-Amos Girschick 2007, cat. no. 88, pp. 339, 341).

Uzo primarily symbolise beauty, docility, and their status as permissible sacrificial animals, reinforcing themes of human control over nature and the rituals that underpin social and spiritual order.

Ẹmila are used mainly for social functions. Although, they maybe used by some affluent chiefs and the royal palace for ceremonial purposes

Ehẹn is a general term used to describe various types of fish (Ọbazee 2025, p. 90; ). Although mudfish are one of the most common motifs in Benin art, other kinds of fish are also represented. According to Blackmun ( ), a greater variety of fish are represented on the Aken'ni Elao (carved tusks) than on other types of royal artefacts. According to Kathy Curnow ( ), fish appear on 70 Ama-Ẹrọnmwọn (bronze relief plaques), making them the most commonly represented animal. Despite their prevalence, the precise species of fish are not easy to identify due to their “generic renderings”, possibly indicating that artists did not always distinguish between specific varieties ( ). Fish are represented on the Ama-Ẹrọnmwọn both in profile and from above.

Ẹzuzu (round hand fans) are usually carried by attendants to the Ọba or Iy’Ọba. On the Ama-Ẹrọnmwọn (bronze relief plaques), male attendants to the Ọba carry fans, whereas on Urhotọ (altar tableaux), female attendants carrying fans are depicted flanking the Iy’Ọba. Ẹzuzu connote the status of both the person being fanned and the holder, who is usually an attendant fanning the superior Ọba or Iy’Ọba. Usually, male attendants—members of the Emada—would be represented with the Ọba, while young women would attend to the Iy’Ọba. Ẹzuzu have an important function in cooling; however, the wafting of the fans can also calm spiritual energy, thus making the fan a symbol of peace ( ).

A further symbolic use for the Ẹzuzu includes blowing medicine across the surface of a fan and using mirrored fans by ritual specialists to make predictions about the future ( ). The symbolic importance of fans in Edo belief is reflected in their use as one of a small group of inanimate objects that are the focal subjects of some Ama-Ẹrọnmwọn.

Ẹbẹn are a type of ceremonial sword of significant importance in the Benin Kingdom. During ceremonies, titled chiefs would hold them or toss them during dances, thereby paying homage to the Ọba at these public events, particularly when a chief receives a certain status. It is forbidden for Ẹbẹn to touch the ground, so the chief must take extra precautions to avoid dropping the Ẹbẹn during the dance. Therefore, the Okae-Odionmwan (head of executioners) dances with the Umozo (warfare or executioner’s sword) behind the dancing chief.

There are two central ceremonial swords used in the royal court of the Benin Kingdom, one of which is the Ẹbẹn, along with the Ada (ceremonial swords). They are distinguished by their blades: the Ẹbẹn blade reflects the shape of a leaf or an oar. Sometimes, it is decorated with openwork designs and/or brass inlays, most commonly shaped as small Ẹbẹn and Ẹkpẹn (leopards). The handle of the Ẹbẹn also has an unusual ring-shaped form, which further differentiates it from the Ada.

The Ukpan obọ eva (coral-bead crossed baldrics) were worn as part of the ehaingbehia, the full ceremonial regalia, by only high-ranking members of the palace, including the Ọba himself, the Iy’Ọba, the Edaiken, and the Ezọmọ (Ben-Amos 1999, pp. 68, 141; Osadolor in Plankensteiner 2007, cat. no. 70, pp. 322–323).

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 Udahae is a forehead band made from coral beads and worn by chiefs. Sometimes a white Igan (feather) from the Oɛɣohɔ (vulturine fish eagle) is tucked into the left side of the Udahae. According to Benin oral tradition, the Udahae was introduced by Ọba Ezoti, the first son of Ọba Ewuare I. During his coronation, Ezoti was shot in the forehead with a poisoned arrow. To stop the bleeding, a band of red beads was wrapped around his forehead while he made public appearances. Fourteen days later, he died from his wound. Since then, Benin chiefs have worn the red-beaded Udahae around their foreheads to commemorate the cap used by Ezoti to stop the bleeding (Egharevba 1968, p. 21).

The Ititi ako is a cluster of coral beads, usually three or four, attached to a pin and used to embellish the royal crowns on Uhunmwu-Elao (commemorative heads) and Uhunmwu-Ẹkuẹ (pendant masks). These bead clusters are also known as star beads, which indicate the prosperous destiny of an individual or wearer. Apart from enhancing the appearance of the wearer, they also represent the individual’s high social status. Judging from their presence on a variety of head sculptures, both men and women wore Ititi ako.

The Ukpẹ ọkhọkhọ is a distinctive hairstyle and coral-beaded headdress worn by the Iy’Ọba. The headdress includes a projection called the ‘ede Iy’Ọba’, which indicates that “her spiritual potentialities are closer in quality to those of her ruling son than they are to the powers of the nobles” (Aigbe Eson and Ihama Iguneronmwon in Blackmun 1991, p. 60). The Iy’Ọba’s hairstyle and headdress are meant to resemble ukpe-okhue, or the curved parrot’s beak (Kaplan 1993).

Barbara Blackmun (1991, p. 60) argued that “Benin art is multivocal, and any depiction of the Iye Ọba [sic] is a reference to Idia. Every woman who holds the office of lye Ọba plays the part of Idia, the ideal model of an Ọba’s mother.” Wearing the Ukpẹ ọkhọkhọ is one of the ways the Iy’Ọba plays the role of Idia.

Asa (shields) are a crucial attribute of warriors and warrior chiefs, forming part of their ceremonial and battle attire as represented on the Emwin Arhe (royal treasures). Asa were usually made from elephant or crocodile skin and used by warriors for protection during hand-to-hand combat (Osadolor 2001, p. 102). Interestingly, the form of Asa depicted on historic royal artefacts differs from those found in museum collections today, reflecting changes in shield shapes and designs over time.

Figures of young men and women, often depicted nude except for waist beads, occur frequently throughout the visual language of Emwin Arhe (royal artefacts), particularly on Ama-Ẹrọnmwọn (bronze relief plaques), Urhotọ (altar tableaux), and Aken'ni Elao (carved tusks). These figures are typically shown attending or supporting high-status individuals such as the Ọba, Iy’Ọba, or warrior chiefs. Their smaller scale visually reinforces their subordinate status.

Attendants may carry symbols of state, such as the Ada and Ẹbẹn (ceremonial swords), on behalf of the Ọba; Ẹzuzu (fans), used to cool the Ọba and Iy’Ọba and to waft away evil spirits; or Asa (shields), held over the heads of higher-status figures to protect them from malevolent forces (Kaplan 2007, p. 149). Other attendants are shown carrying offerings, sometimes contained in specialised vessels such as Ẹkpoki (cylindrical boxes) or Orhiẹvbẹ (kola-nut bowls).

Ibierugha (male attendant figures) are distinguished by a characteristic crest-like hairstyle with a braided lock of hair falling over the left ear (Völger 2007, cat. no. 9, p. 279). The Ọba was typically attended by young men, while the Iy’Ọba was attended by young women. Attendants of both genders were usually provided with clothing by the Ọba or Iy’Ọba once they reached maturity, at which point the royal household would also arrange suitable marriage partners for them (Ezra 1992, p. 81).

In the 16th century, Ọba Ẹsigie established the title of Iy'Ọba (Queen Mother) in honour of his mother, Iy'Ọba Idia, for the crucial role she played in the Benin–Idah War (1515–16). She is often described as “the only woman who went to war” ( ).

The Iy'Ọba can usually be identified by her distinctive curved, conical hairstyle, known as Ukpẹ ọkhọkhọ, which is said to have been introduced by Iy'Ọba Idia (Kaplan 1993, p. 58). In addition, the Iy'Ọba was permitted to wear certain items of attire otherwise reserved for the Ọba, such as the Ewu ivie (coral-beaded shirt) and Ukpan obọ eva (crossed coral-beaded baldrics), as well as regalia associated with senior chiefs, including the Odigba (coral-beaded collar) and Udahae (coral-beaded forehead band) ( ).

Representations of the Iy'Ọba appear on ivory Emwin Arhe (royal treasures), including the five famous Uhunmwu-Ẹkuẹ (pendant masks) believed to depict Iy'Ọba Idia, as well as on a number of Aken'ni Elao (carved altar tusks). She is also represented in brass and bronze, including on Ikẹgobọ (altars to the hand) and Urhotọ (altar tableaux) made for Iy'Ọba shrines and altars ( ). In these representations, the Iy'Ọba is often accompanied by female attendants who form part of her retinue.