Gümüşhacıköy is a small settlement center on the western point of Amasya, Turkey. The subjects of this article are the hand carved ornaments of Ali Civan Baba Türbesi and Hacı Nazır Türbesi that are located in this district. We are confronted with the characteristic motifs and compositions of the 18th and 19th centuries, which are westernization period wall paintings on ornaments made with a pencil work technique on dry plaster. We will deal with the architectural ornaments of this type, which have not been subject to a comprehensive publication up until now. In this context, our aim is to present the details of hand carving and reveal its place in the Anatolian wall painting chronology. The still-life compositions compose the most intensive group and come out in the form of rich compositions on the ornaments. In addition, arrangements shaped with curved branches as C and S, fruit tree illustrations like apple, pear, date palm, cypress, and grape clusters are among the main design compositions. Both Ali Pir Civan Türbesi and Hacı Nazır Baba Türbesi are noteworthy for their depictions of belief based symbols of the Bektashi tariqa, like keskül, battle axe, nefir, and sword. We do not have definitive knowledge or documentation about the masters who made the hand carved ornaments. However, when the wall paintings of Ali Pir Civan Türbesi are compared with similar examples in the region, it is possible to reach some results about the named artist. The ornaments, when compared to the other hand carved ornaments in and around Amasya, coincide with the style and subject composition, and this issue will be put forth in our comparison.