The Royal Triad is a motif composed of three figures, with a central figure supported on either side by two others. The motif has multiple meanings and interpretations. When understood on the human level, the central seated or standing figure is identified as the Ọba, flanked by two Enobare who each support one of his arms. This pose “encapsulates Edo ideals of kingship,” in which “even the most powerful of Benin's divinely ordained rulers cannot stand alone. He must maintain a careful balance between his authority over the Edo people and their acquiescence in his leadership” ( ). The identities of the supporting Enobare are interpreted variously. They have been identified as the Osa and Osuan, who support the Ọba in this manner during the Ugie Oro and Ododua festivals, although it is possible that the Edaiken (crown prince) and Ezọmọ performed these roles during the 18th century ( ).

In some examples, the central figure has mudfish in place of legs. These figures have sometimes been interpreted as representations of the deity Olokun ( ). Barbara Blackmun (1984, pp. 274–275) alternatively suggested that the triad may represent the high god Osanobua, his son and deity Olokun, and Olokun’s child, Ohen, who in turn represents the Ọba.

The number three is considered an “uncanny” number in Edo thought and “is never used lightly” ( ), being associated with the “threat of occult sanctions or forces” ( ).

The Royal Triad appears on almost all Aken'ni Elao (carved tusks), as well as on some Ẹgogo (gongs) and pendant plaques, and less frequently on Ama-Ẹrọnmwọn (bronze relief plaques). The motif is also referred to as the “supporting triad motif” or “linked supporting triad motif” ( ).

Ẹyẹn (snakes) are among the most common animals depicted by Edo artists on the Emwin Arhe (royal treasures). The varied depictions of these reptiles suggest different snake species, including the Ikpin (python), Arhunmoto (puff adder), and Olose (red-black striped snake); therefore, here we use the generic term for snake: Ẹyẹn.

The identification of snake motifs and depictions as Ikpin, as well as the importance accorded to this species, is a subject of scholarly debate. Paula Ben-Amos (1976, p. 247) argued that the Edo admired the “stature, colouration and crushing power” of the python, which was in turn associated with Olokun. She went on to identify the brass figures of snakes that formerly adorned the roof of the palace, as well as several other snakes, as pythons. Joseph Nevadomsky (1988, p. 77) argued instead that the importance of the Ikpin had been overstated.

Some of these snake representations may in fact be the Arhunmwoto (puff adder). The first to suggest this was the German curator Felix von Luschan (1919) in his early research into the Benin royal treasures. Nevadomsky (1988, pp. 79–80) suggested that the large head, narrow neck, and rough scales are indicative of either the puff adder, a symbol of “material wealth, tribute, and gifts,” or the Gaboon viper.

Another kind of snake that may be depicted is the Olose (red-black striped snake). It has the praise name “king of the snakes” in Edo. Olose is also closely connected to the deity Olokun, both because of its attractiveness and because it inhabits wet environments such as forest streams, which in turn flow into rivers and the sea, where Olokun lives (Nevadomsky 1988, pp. 76–77). Although the exact meanings of these different snakes vary, they share the characteristic of being spiritually powerful creatures.