Abstract
The mathematical discussion around the presence of the 17 crystallographic groups in the Alhambra became fertile after Edith Müller presented her doctoral thesis in 1944. However, from the history of art, only M. C. Escher has been mentioned for the use of planimetric symmetry in his study of the patterns of the Alhambra alicatados (mosaics tilings) for artistic purposes. The present work establishes a methodology of iconographic analysis of the Alhambra tilings from the chromatic asymmetry present in four of the examples found by mathematicians, as well as the search for a symbolic meaning in the mathematical use of work constructed by the Nasrids (1232-1492).
