Ugianranran (manillas) are highly important objects in the visual language of the Emwin Arhe (royal treasures). Although Ugianranran were made in a variety of sizes, forms, and weights, they share the characteristics of being made from copper or copper alloys, namely brass or bronze, and having a curved, ring- or horseshoe-shaped form.

In the early years of trade between the Portuguese and Edo, during the late 15th and early 16th centuries, manillas were made primarily of copper. During the early 16th century, Edo traders increasingly sought manillas made of brass. This changing preference is believed to have corresponded with the growing demand for brass among artists of the Igun-Ẹrọnmwọn ( ). During the 17th and early 18th centuries, the Dutch also traded manillas with the Edo, although to a lesser extent than the Portuguese. Recent scientific analysis has shown similarities between the composition of metals in manillas from the southern Rhineland region of Germany and the copper alloys used in some Emwin Arhe, supporting earlier scholarship suggesting that manillas were used by casters to produce Emwin Arhe (Skowronek et al. 2023).

When depicted on objects, Ugianranran are often shown alongside or being held by figures identified as Portuguese. In one case, figures identified as Benin traders or royal emissaries are shown holding manillas in their hands ( ). This is particularly the case on the Ama-Ẹrọnmwọn (bronze relief plaques), which are believed to have been commissioned by Ọba Esigie. Esigie is understood to have encouraged the production of artworks, made possible in part by the increased supply of manillas and other copper-alloy objects resulting from trade ( ). Ugianranran are therefore associated with overseas trade, wealth, and Olokun, the deity of the seas ( ). In addition to being held by figures or appearing alongside them on artworks, Ugianranran sometimes serve as focal decorative motifs, further indicating their symbolic and economic potency.

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 ( ; ).

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).

This motif of an Ọba with legs represented as two mudfish is often interpreted as Ọba Ohẹn, who reigned c. 1334–1370. According to oral traditions, Ohẹn suffered from paralysis of the legs and unsuccessfully attempted to conceal his condition from the chiefs and members of the royal court. The Iyasẹ Emuze eventually hid in the Ọba’s chambers to discover his secret ( ). When Ohẹn discovered this, he ordered the Iyasẹ to be executed. However, the people learned of the order and turned against the Ọba. According to the tradition, they plotted to kill him ritually by digging a hole beneath his throne and stoning him with Orhue (white kaolin chalk) when he fell into it ( ; ).

Not all representations of an Ọba with mudfish legs, however, are understood to refer to Ohẹn. Variations in the objects and animals carried by the figure are thought to indicate different meanings ( ; ). Members of the Igbesamwan and Igun-Ẹrọnmwọn have emphasised the significance of these accompanying motifs (Blackmun 1984, pp.249–255). When the mudfish-legged Ọba is shown holding aquatic creatures such as crocodiles, for example, the image has been interpreted as a “cosmological image” representing the correspondence between the two monarchs: the Ọba of Benin, ruler of the land, and Olokun, ruler of the waters ( ). By contrast, representations in which the Ọba holds swords or staffs have been interpreted specifically as depictions of Ọba Ohẹn.

Asoro (spears) were used as weapons in battle and for hunting ( ; Ọbazee 2025, p. 37). According to , there were two types: long and short. Figures holding Asoro are often depicted on Ama-Ẹrọnmwọn (bronze relief plaques), sometimes in battle scenes and at ceremonies and festivals.

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.

Ikpotoki figures (Portuguese figures) are easily distinguished by their European-style clothing, including hats and helmets, as well as by their facial features, particularly their thin, straight noses and straight hair. The objects Ikpotoki figures are shown wearing or holding provide further indications of their relationship with the Benin Kingdom. When they hold or are positioned alongside Ugianran (manillas), for example, they indicate trade, commerce, and wealth, while weaponry such as firearms, swords, or spears indicates their role as mercenaries in the service of the Ọba. In 1515, Ọba Ẹsigie went to war against the Attah of Idah, the ruler of a neighbouring kingdom. Portuguese mercenaries and weapons assisted the Edo in winning the battle, enabling the further expansion of the Kingdom. Ẹsigie’s reign was particularly important for strengthening ties between the Benin Kingdom and the Portuguese Empire, and he is believed to have spoken fluent Portuguese. With Ẹsigie’s encouragement, Portuguese missionaries established churches in the Benin Kingdom ( ; ), while Portuguese trading factories were also established ( ). Ọba Ẹsigie allowed his son to be baptised and sent him to Portugal to be educated; following his return, he became Ọba Orhogbua ( ).

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”.

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.