A variety of different kinds of Ahianmwẹ (birds) were depicted by artists from the palace guilds on royal artefacts over the centuries. The precise identification and interpretation of these birds, and the meanings attributed to them, vary. Some of the most commonly depicted are the Akala (white-backed vulture), Oɛɣohɔ (vulturine fish eagle), and Esughusughu (owl).

The Akala is usually depicted on top of Osogan, potent staffs kept by priests for the worship of Osun. Its ewawa (beak) is associated with the azen (witches), and the Akala is associated with “death, abandonment, morbidity, and spoils” ( ). The Oɛɣohɔ is known as the “king of the day birds,” and its feathers are often worn by chiefs in their headwear as symbols of respected old age and proper chieftaincy ( ).

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”.

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.

Depictions of Ewi (mudfish) are among the most frequent motifs in the Emwin Arhe (royal treasures). Mudfish hold an important place in Edo belief, both as representations of the god Olokun and as symbols of royalty (Plankensteiner 2007, p. 410), as well as of “prosperity, peace, well-being and fertility” (Ben-Amos 1976, p. 245). Mudfish are also particularly common animals for sacrifice, and mudfish-shaped Orhiẹvbẹ (kola-nut boxes) were used to make offerings or store kola nuts.

Yet, the appearance of Ewi across the Emwin Arhe is not consistent, and it has been argued that different species of mudfish were depicted by Edo artists, each with different qualities and capabilities. For example, the electric shock of Malapterurus electricus resembles the fierceness of the Ọba, while the liminal qualities of the Synodontis clarias mudfish, which lives both on land and in water, similarly reflect the Ọba’s rule over land and sea (Gallagher 1983, p. 93). With these different qualities in mind, the mudfish is an important symbol of Benin kingship and royalty.

Sometimes the Ọba was depicted by artists with mudfish rather than legs (see Ọba with Mudfish Legs).

In the riverine area surrounding Benin City, there are two types of crocodile. The Ẹghughu, known in English as the dwarf or bush crocodile, is believed to be more docile ( ; Ọbazee 2025, p. 133). The second type is the Àgbákà, the aggressive Nile crocodile ( ; Ọbazee 2025, p. 11).

Crocodiles are one of the important animals represented in the historical Emwin Arhe, and they are known as Olokun’s guards or the “policemen” of the waters. The powerful and ferocious qualities of these animals might explain why warrior figures are often depicted wearing Uhunmwu-Ẹkuẹ (pendant masks) in the shape of crocodile heads on Ama-Ẹrọnmwọn (bronze relief plaques) ( ). Olokun devotees use crocodiles as sacrificial animals in offerings during the worship of Olokun.

The Ẹkpẹn (leopard) is an animal that appears most often among the motifs decorating the Emwin Arhe (royal treasures). The Ẹkpẹn symbolises the valour and strength of the Ọba, as well as his political authority. The Benin people eulogise the Ọba as the ‘ẹkpẹn n'owa’ (leopard of the home).

When a hunter kills a leopard, he must say “ẹkpẹn n'oha” (I killed a bush leopard), as it is taboo to say that a hunter killed a leopard without specifying that it is a bush leopard, as otherwise this would “be tantamount to symbolically killing the king” (Nevadomsky 1988, p. 81). For this reason, leopards of the bush are called Atalakpa to distinguish them from those that represent the Ọba.

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).

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.