Compared to the Ẹkpẹn (leopard), the Eni (elephant) is not as prominent in the visual language of the Emwin Arhe (royal treasures). It is found on two elephant-head pendant masks and as a full figure, with a chief standing on top of it, on some staffs, but more recurrently only as a trunk, either curved or straight, sometimes terminating in a human fist clenching a bunch of leaves. For example, in her PhD thesis, Barbara Blackmun ( ) identified eight different kinds of ‘trunk hand’ motifs on the Aken'ni Elao (carved tusks) alone.

When a chief or important man passes away, it is said in Edo that ‘an elephant has fallen out of society’. Eni are also said to be the ogie (lord) of the animals, and together these associations have led to the interpretation of Eni as symbols of chiefs, possibly even rebel chiefs, in Benin iconography ( ). Based on the qualities of the animals themselves, representations of Eni on the Emwin Arhe (royal treasures) are believed to represent “physical power, leadership, wisdom, and longevity” ( ).

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”.