The Ogho (ram) is associated with masculine and aggressive qualities, bravery and agility in Edo belief, as well as with conflict and trouble ( ). Due to these symbolic associations, the Ogho is one of the animals often used for sacrifice, particularly at the Ikẹgobọ (altar to the hand), as an offering associated with physical strength and power. Rams, particularly ram’s heads, are a common motif used to decorate the flanges of Uhunmwu-Elao (commemorative heads), as well as serving as the central decorative motif on pendant plaques. These Ogho pendant plaques are believed to have been worn by the Ọba, based on evidence from depictions of a figure interpreted as Ọba Ewuakpe ( ; ). According to Barbara Blackmun ( ), the Ogho head motif was one of the dynastic motifs that were revived during the 18th century. The widespread use of the ram’s head motif suggests connections with other southern Nigerian casting centres, such as Ife, Owo, and the Lower Niger Bronzes.

In addition to the ram’s head motif, two unusual aquamaniles in the form of whole Ogho figures were also cast by artists from the Igun-Ẹrọnmwọn.

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”.