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.

Ebe Amẹ refers to a wide variety of plants, particularly the leaves of the water fern or river leaf, found in riverine areas of southern Nigeria ( ). Artists from the Igun-Ẹrọnmwọn used these as a decorative motif in the background of most Ama-Ẹrọnmwọn (bronze relief plaques). The petals of the Ebe Amẹ, like the points of the ἀghàdàgháda (crossroads), represent the four cardinal directions: north, east, south, and west. The number four plays a foundational role in the Edo calendar, which is structured around four market days ( ).

Ikharo are linear keloid markings depicted on the forehead of Uhunmwu-Elao (commemorative heads) in groups of three or four above each eye. The exact meaning of Ikharo is debated; some have argued that they relate to the gender or tribal identification of the person on whom they are depicted. For example, has argued that they were worn only by men; however, their use in depictions is not consistent with this, and the Iy’Ọba are also shown wearing them. argued that they are instead a stylistic feature employed by artists that varied over time.

The naming of these markings differs between publications. For example, describe these markings as “agbaguda n'ehae”, which they write translates literally as “blades of the forehead”. However, later went on to call these “ikharo”, as used here. referred to these forehead markings as ikharo, meaning “tribal mark [of eye]”.

Orhiẹvbẹ are boxes or bowls used to store and present kola nuts and other items for offering, particularly in ceremonial and ritual contexts. Kola nuts were, and continue to be, presented to guests by hosts as a gesture of courtesy and friendship, as well as a symbol of peace, order, and civilisation ( ; ).

Orhiẹvbẹ are incorporated into the imagery of Ama-Ẹrọnmwọn (bronze relief plaques), where they are often held by attendants, indicating the presentation of offerings, particularly to the Ọba. Those depicted among the Emwin Arre (royal treasures) take a variety of forms, ranging from simple round or oval bowls and lidded vessels to examples shaped as antelope heads.

Igan (feathers) are commonly depicted tucked into the headdresses and hats of chiefs represented on Emwin Arre (royal treasures). These feathers are from the Oɛɣohɔ (vulturine fish eagle) and symbolise respected old age and proper chieftaincy ( ).

Iwu are facial and body markings (scarifications) that were historically worn by Edo men and women. However, since the 1960s, the practice has been nearly extinct (Aisien 2011). In the past, Iwu were used as a way of proving that one was an Edo citizen, and the ceremony of having Iwu completed was an important rite of passage for men and women. The Osiwu, who also practised circumcision and other surgical procedures, would carry out the procedure of adding Iwu. There are different types of Iwu: ‘blades’ worn on the torso (Iwu-eko), and those worn on the face, such as Ikharo (three or four markings above the eyebrows), Irho (two narrow ‘blades’ worn on each cheek), Ovbihue (nasal ‘blades’), Ovbi-agbanmwen (chin ‘blade’), and Igho-okpa/Ukpgho (three forehead ‘blades’) (Aisien 2011, p. 22).

The number of Iwu also varied depending on the identity of the person wearing them. For example, royal men would wear six ‘blades’ on their torso, whilst men who were not royal would wear seven ‘blades’. Meanwhile, the Ọba’s female children would wear fifteen ‘blades’, and all other women would wear sixteen (Aisien 2011).

Uko are flask-shaped containers with globular bodies and narrow openings, which could be made from calabash or cast in brass. The Uko depicted on Emwin Arhe (royal treasures) are usually worn around the neck or waist of figures, particularly those identified as ritual specialists or warriors, suggesting that they may have contained protective or ritual substances. Figures on Ama-Ẹrọnmwọn (bronze relief plaques) are sometimes shown holding or pouring from larger Uko, likely referencing the presentation of offerings during ceremonies and festivals. Uko motifs also decorate the flanges of Ikẹgobọ (altars to the hand), where they may similarly reference vessels used to contain liquid offerings.