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”.

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).