Uhanbọ (bows) and Ifẹnmwẹ (arrows) were produced by members of the Iwifenmwen (guild of archers and manufacturers of poisoned arrows). Arrows, particularly poisoned arrows, were used in warfare. When depicted on Emwin Arhe (royal treasures), Uhanbọ and Ifẹnmwẹ are believed to represent Ake, the deity of archery. According to Aisien (in Plankensteiner 2007, cat. no. 218, p. 438), Ake was an expert marksman who lived during the reign of Ọba Ẹwuare (c. 1440–1473 AD) and is credited with inventing the poisoned arrow used in hunting and warfare.

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.

Many different kinds of Ẹrhu (headwear) are worn by the various figures depicted in the imagery of Benin royal artefacts. Through comparisons with ceremonial regalia still worn by chiefs and members of the royal court, including the Ọba himself, some Ẹrhu have been used to identify the different figures depicted. For example, the conical hat worn by high-ranking town chiefs as part of the pangolin regalia, still worn at ceremonies, is also visible on figures on some Ama-Ẹrọnmwọn (bronze relief plaques) ( ). Other examples include the distinctive bell-shaped helmet associated with the Iyasẹ ( ). Figures who wear a shallow-brimmed hat and a cross have been identified as Ewua or Ohensa priests ( ).

Different kinds of helmets and headwear were worn by warriors, reflecting the many different ranks and roles in the army at any given time, as well as developing trends that were in turn represented on Emwin Arhe created at different points in time. Warrior figures wearing helmets covered in cowrie shells were carved on the Aken'ni Elao (carved tusks) (Blackmun 1984, p. 330), yet on the brass Ama, warriors are sometimes depicted wearing helmets made from crocodile hide or horsehair with a front plate (Osadolor in Plankensteiner 2007, cat. no. 238, p. 457). Helmets made from horsehair with a front plate are one of the more common types represented on the Ama-Ẹrọnmwọn, and the demand for black horse tails was noted by both Portuguese and British traders during the late 17th and 18th centuries (Osadolor in Plankensteiner 2007, cat. no. 238, p. 457). Other warriors depicted on Ama-Ẹrọnmwọn wear helmets with a rounded top, chinstrap, and sometimes also a feather tucked into the left side. These types of headwear are known as Ẹrhu Iyokuo.

Attire worn for battle also differed from that worn for ceremonial occasions, such as the pointed headwear worn in combination with an ornate leopard-head tunic by war chiefs. Depictions of figures wearing this attire on brass Ama-Ẹrọnmwọn (bronze relief plaques) have been interpreted as representing the war chiefs’ participation in the war-ritual Isiokuo festival (Osadolor in Plankensteiner 2007, cat. no. 238, p. 457).

Another distinctive form of headwear is that worn by figures identified as leopard hunters on the brass Ama-Ẹrọnmwọn (relief plaques). These large helmets cover almost all of the leopard hunters’ faces except for their noses, eyes, and upper lips, and are made of an unusual material that remains unidentifiable (Plankensteiner 2007, cat. nos. 68–69, p. 322).

European figures are also portrayed with distinctive hats, such as Portuguese three-cornered hats. These depictions reflect the artists’ keen observation and highlight the impact of European trade and military assistance (Ezra 1992).

Ẹroro (bells) frequently appear as ornaments worn by figures depicted on the Emwin Arhe, particularly on Ama-Eronmwon (bronze relief plaques) and Aken’ni Elao (carved tusks). These Ẹroro are most commonly quadrangular in form or, less commonly, cylindrical with rounded tops. Quadrangular Ẹroro worn around the neck are often part of the attire that indicates that figures can be interpreted as warriors, alongside the Akọn Ẹkpẹn (leopard tooth neck ornament) and the Ohian Ẹkpẹn (leopard tunics).

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).