Odigba (coral-beaded collar) is a rigid neck collar made of coral beads, worn as part of ceremonial attire only by senior princes who have been made Enigie (Inneh 2007, p. 107). Although Ibafe (2007, p. 43) argued that the Odigba was introduced during the Ogiso period (c. 900–c. 1170 AD) by Ogiso Ere, along with other symbolically important Emwin Arhe, such as the Ada (ceremonial sword) and the Ẹbẹn (ceremonial sword), this seems unlikely, as coral was only introduced in the late 15th century through trade with Portuguese merchants.

This oval-shaped bead with faceted sides is known as the Ivie okpagbaru or Ivie Ewuare (the ‘royal bead’ or ‘Ewuare bead’). The association of Ọba Ewuare with this bead is based on a story in which Ewuare took beads from the deity Olokun, sanctifying his royal position and, in turn, receiving the title ‘Lord of the Land’, in contrast to Olokun’s title ‘Lord of the Sea’ (Omomo of Enisen in Blackmun 1990, p. 65). The Ivie okpagbaru/Ivie Ewuare is a distinctive motif that can be used to identify representations of the Ọba.

Due to the association of beads with Olokun, it is unsurprising that this bead has come to symbolise wealth when used to decorate Emwin Arhe (royal treasures) (Blackmun 1984, p. 59). Paula Ben-Amos (1999, p. 64) associated the bead with a different narrative and the name ‘One Bead Does Not Go around the Neck’. Ben-Amos suggests that the bead is in fact the one that was fought over by Ọba Ẹsigie and his brother Aruanran when they struggled for the right to the throne in the early 16th century.

Although many other members of the Benin royal court wore a variety of hats and forms of headwear, only the Ọba may wear the Ẹde (beaded crown). The Ọba must never be seen bare-headed, and successive Ọbas introduced different styles and types of crowns ( ).

Across different media and objects, Ọbas are depicted wearing various types of crowns, all elaborately crafted from coral beads. Some feature tall projections rising from the crown, known as Oro, while others have curved projections extending from either side of the head, known as the winged cap. The latter was introduced only in the 19th century, most likely by Ọba Osẹmwẹndẹ ( ). Depictions of Ọba Esigie on Ama-Ẹrọnmwọn (bronze relief plaques) show him wearing an elaborate crown decorated with large jasper or coral beads ( ).

Ẹkirẹ is the Edo term for frog ( ; Ọbazee 2025, p. 135). The Ẹkirẹ carries significant and often ambiguous symbolic importance, primarily linked to its liminal nature and association with spiritual and magical powers. As an amphibian that lives on the threshold between water and land, the Ẹkirẹ is seen as a messenger of Olokun. This connection reinforces the Ọba’s (king’s) ability to bridge the human and spiritual realms, a concept consistently present in Benin art.

While not as common as the mudfish, frogs appear on various Benin artworks, including Aken'ni Elao (carved tusks), pendant plaques, and Ẹrhẹ (royal stools). Their presence often relates to medicinal and occult practices. Frogs can be used in powerful curses, with a jumping frog signifying failure, and a frog, along with a coiled fish, used in rituals to release such curses. They are also associated with Osun, the deity of medicine, and scenes of snakes swallowing frogs can represent supernatural attacks or strong spiritual powers. For warriors, the Ẹkirẹ could even symbolise an aspect of their protective equipment and was used in palace rituals to encourage success in battle ( ).

Figures wearing a headdress with a single protrusion from the crown of the head, known as the Oro, are found only among the Ọba and a select category of palace dignitaries whose ancestors originated in ancient Ile Ife ( ; Ọbazee 2025, p. 407). Only the Osa and Osuan, custodians of the Uwen and Ora deities, as well as members of the Emuru, who are responsible for the care of Iru vessels, may wear a headdress with the Oro. The identification of different figures is therefore interpreted based on the combination of the Oro with other items of regalia. Artists in the Igun-Ẹrọnmwọn and Igbesamwan depicted figures with the Oro on Ama-Ẹrọnmwọn (bronze relief plaques) and Aken'ni Elao (carved tusks), respectively. The Oro would either be made of coral beads as part of the crown or headdress, or be woven from itoto fibre ( ).

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” ( ).

The Ọba is the monarch of the Edo people and Kingdom. The current reigning monarch, Ọba Ẹwuare II, is the fortieth Ọba of the current dynasty, which is traditionally understood to have begun around 1170 AD ( ). Over the centuries, the role and conception of the monarch have shifted, and the Emwin Arre (royal treasures) and the visual language they carry provide important evidence for understanding these developments. Although Emwin Arhe served a variety of functions within court life and ritual, “their primary purpose was to glorify the godlike king and the history of the powerful empire” (Plankensteiner 2007, p. 25). Representations of the Ọba are therefore ubiquitous across Benin court arts and frequently occupy a central position within their visual language.

Representations of the Ọba can be recognised through a combination of characteristics, including his size, as he is usually depicted larger than other figures, and his position within compositions, where he may appear in front of or be supported by other figures, as in the Royal Triad motif. The Ọba is also distinguished by particular items of regalia, including the Oro projection from his crown, the distinctive beaded swag extending from his right hip, the Ewu ivie (coral-beaded shirt), and Ukpan obọ eva (crossed coral-beaded baldrics).

Since the early 20th century, scholars have sought to identify individual Ọbas represented on Emwin Arhe by analysing the regalia and other attributes of figures identified as monarchs, as well as the combinations of motifs and figures appearing on particular objects. Oral traditions and historical accounts, alongside European archival sources, have also played an important role in determining the identities of specific Ọbas (e.g., , ; ). Just as the institution of the monarchy developed and changed over time, so too did the ways in which Ọbas were represented by artists working within the royal guilds, including the Igun-Ẹrọnmwọn and Igbesamwan.