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).

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 ( ).

Ikoro (armcuffs) are made from different materials using different techniques, including brass sheet, cast bronze, and ivory. They were crafted by different guilds depending on the material used: artists of the Igun-Ẹrọnmwọn cast them in brass or hammered and incised them from brass sheet, whereas artists of the Igbesamwan carved ivory Ikoro. Ikoro were made in different qualities, from rather simple examples with abstract geometric decoration to finely carved ivory examples with brass or copper inlays. Ikoro are worn in pairs on both forearms by chiefs and the Ọba during ceremonies and festivals. Figures depicted on the Emwin Arhe (royal treasures) are often shown wearing such pairs.

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]”.

Ikele is a single stiff string or circlet of coral beads. It is worn by chiefs, such as senior chiefs who have been made Enigie (Inneh 2007, p.107), and is a sign of nobility and rank. The Ikele may only be worn once the Ọba has conferred a person with the right to wear the beads, and the Ikele must always be worn when appearing before the Ọba. According to Ekhaguosa Aisien (in Plankensteiner 2007, cat. nr. 301, p.512) when a chief is wearing the Ikele, they may not eat nor drink in public, and they “constitute an embassy of the Benin Palace wherever he might be.”

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 Ahianmwẹ-Ọrọ, meaning ‘bird of prophecy’ in English, is a bird with a long beak believed to be a messenger of the spirit world. If it cries ‘OyaO’ (disgrace), it portends danger or disaster. If it cries ‘Oliguegue’ (be grateful), it portends good favour, fortune, or luck. If it persistently cries ‘OyaO, OyaO’ in front of someone, it is prophesying that the person should be cautious and should not undertake a journey, or should return home rather than continue. But if the bird cries ‘Oliguegue’ continuously, the journey will be favourable.

In 1515, as Ọba Ẹsigie passed through the gates of Benin on his way to fight the Attah (king) of Idah, the Ahianmwẹ-Ọrọ made discouraging sounds overhead, ‘OyaO, OyaO’, portending that disaster lay ahead. The Ọba ordered the bird to be killed and went on to win the war. He said, ‘Nẹ O gha yin Agbon, ghẹi daho Ahianmwẹ notiẹ oya’ (whoever wishes to succeed in life should not heed the bird of prophecy). On the Ọba’s triumphant return from battle, he commissioned the Igun-Eronmwon to make an image of the bird on the finial of a battle standard to remind it that the Ọba was not subject to the fate of ordinary spirits (personal communication, Patrick Oronsaye, 2022).

The identification of which bird the Ahianmwẹ-Ọrọ represents has been a subject of scholarly debate throughout the 20th century. Some have suggested that the bird is an African pied wagtail (Melzian 1937, p. 5), an ibis (Dark 1962, p. 46), possibly a kind of kingfisher (Ben-Amos 1976, p. 252), a hornbill (McCall 1975, p. 293), or, lastly, a white-tailed ant thrush (Nevadomsky 1988, pp. 76–77). In the case of the Ahianmwẹ-Ọrọ, however, Joseph Nevadomsky (1988, p. 77) posited that the exact species being represented was in fact less important. Instead, the aim was to “convey certain notions about the supernatural powers of the Ọba” and that the physical attribute (e.g., the long beak) was in fact the Ọba Ẹsigie’s casters’ way of seeking to “emphasise its vocal powers of prophecy, and, perhaps more importantly, the overcoming of these powers by the Ọba.”