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”.

Itakpa facial markings consist of three linear cicatrizations at both corners of the mouth of figures, sometimes described as “cat’s whiskers” by scholars researching Benin art history (e.g., Willett 1967, pp. 67–70; Nevadomsky 1986, p. 41). Edo people do not, and did not historically, wear this type of facial marking. Therefore, it has been suggested that these figures could be messengers or envoys sent to the Kingdom of Benin by the Ooni of Ife, as similar facial markings have been seen on terracotta sculptures from Ife (Willett 1967). However, during Joseph Nevadomsky’s (1986, p. 41) research in Benin City, people identified these markings as Itakpa, a kind of facial marking worn by people from areas to the north of the Benin Kingdom, where the Niger and Benue rivers meet, such as the Nupe, Igala, or some Yoruba communities. Furthermore, in his 1937 Edo-English dictionary, Melzian (p. 102) identified Itakpa as the Edo word for the Nupe. During the 16th century, Ọbas led expansion wars, such as the Idah War in 1515–16 under the rule of Ọba Esigie; therefore, the attribution of figures with these markings as ‘foreigners’ corresponds with the history of the Kingdom.

Uman-ague is a badge in the form of an equal-armed cross. The cross with straight-sided arms is known as the “Greek cross,” while the type with V-shaped arms, narrowing toward the centre, is known as the “Maltese cross.”

Uman-ague is usually worn around the neck by members of the Ewua or by the Ohensa ( ). The equal-armed cross has various meanings: as a symbol of cosmic order, it represents the number four and references the “four cardinal points established by the High God Osanobua when he created the world” (Girshick Ben-Amos 1999, p. 64), as well as the “crossroads or junction that serves as the point of connection between the natural and spiritual worlds” ( ). Paula Girshick Ben-Amos ( ) also argues that when used on the Aken'ni Elao (altar tusk), the cross, together with the Ivie okpagbaru (royal bead), constitutes an “emblematic reference” to Ọba Ẹsigie.

The cross also references the Portuguese missionaries who brought Christianity to the Kingdom during the reign of Ọba Ẹsigie, although the symbol was already in use before the arrival of Europeans ( ). The Maltese cross is thought to have been introduced by Ọba Eresonyẹn as part of his efforts to encourage the worship of the High God Osanobua during his reign ( ; ). Regardless, Uman-ague is often associated with Ọba Ẹsigie.