Painted decorations, which have an important place in Turkish decorative art, form an important area in civil and religious buildings. Painted decorations, named after the materials of the ground on which they are applied, are made with techniques such as stone and marble, wood, surface, leather and fabric, and malakari. Painted decorations reflect the artistic understanding of the era in which they were created and were mostly applied within the unity of time and style. From a decorative point of view, painted decorations created in different regions of the same period can sometimes show similarities but also have different ornamental characteristics. The painted decorations on the wood of the Handan Bey Mosque in Gaziantep attract attention, especially the ornaments on the muezzin mahfil. The painted decorations have a balanced distribution of geometric and plant motifs, reflecting the ornamental style of the Westernization period of the eighteenth century. The painted decorations of the Handan Bey Mosque were made using the technique of painting on wood; although they were made in the eighteenth century, some motifs from the ornaments of the classical period were also applied, and thus continuing the tradition, albeit to a lesser extent. In this study, the patterns of wooden decorative surfaces in the Handan Bey Mosque were investigated, and corresponding drawings were made. In addition, the Şanlıurfa Rızvaniye Mosque, which was built in the same period as the Handan Bey Mosque, was compared with hand-drawn wooden ornaments in terms of decoration and technique, and similarities and differences were found to draw attention to the art appreciation and stylistic uniformity of classi cal art. This study will also be important for the pattern analysis of wooden ornaments in Handan Bey Mosque and its originality during restoration in terms of possible damage in the mosque.