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]”.

Ema Ẹdo (Emedo) is the ‘drum of the Benin people’, made from either cowhide or leopard skin (ohian ema) and a cylindrical wooden body (erhan ema). These drums are beaten with Ukeke (strikers), the hands, or a combination of both during festivals and ceremonies ( ; ).

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”.

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 ( ).

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.

Representations of figures, often the Ọba, with an Ukhurhẹ (Ancestral Staff) in their right hand recur in a number of Emwin Arre (royal treasures), particularly those carved in wood as Agba (royal stools), cast in brass as part of Osogan (Osun staffs) and Ikẹgobọ (altars to the hand), and carved in ivory as Aken'ni Elao (carved tusks).

Ukhurhẹ are rattle staffs, usually made from wood, although brass examples are believed to have been owned by the Ọba. Ukhurhẹ were, and continue to be, commissioned when the paternal head of a family passes away as a way of commemorating them ( ). Following a ceremony in which they are installed on the family’s ancestral altar, Ukhurhẹ are typically lined up against the back of the altar and are used to communicate with ancestors and the spirit world. When depicted on the Emwin Arhe, Ukhurhẹ are usually held in the right hand of the Ọba, while an Ughavan (celts) is carried in his left hand.

Members of the Iviekpen, the guild of leopard hunters, are part of the Iwebo palace society. Members of this guild were responsible for the Ọba’s wardrobe and were tasked with hunting and capturing leopards for the Ọba.

Representations of leopard hunters occur most frequently on Ama-Ẹrọnmwọn (bronze relief plaques) dating from the 16th to the mid-17th centuries. They are depicted wearing distinctive helmets made from an unidentified material and carrying bows and arrows. In some representations, leopard hunters carry small leopards, while in others they are accompanied by motifs of bound or captured leopards ( ). On Aken'ni Elao (carved tusks), leopard hunters are depicted only once. argued that this representation is a direct translation of the imagery found on the Ama-Ẹrọnmwọn.

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.