Now I'm even more confused
Read my edited post above if you didn't.
In "Classical" music, rhythm is not "pre-defined".
Simply put, anything is possible.
Now, they didn't use 128th notes or smaller too often, and they didn't use Breves or longer too often, nor did they use the highly syncopated rhythms of Jazz, or incredibly complex polyrhythms of Eliot Carter. Likewise groups of 5, 7, or 11, were not common (at least until Chopin's time).
But with just 16th note, 8th note, 1/4 note, half note, and whole note, plus the ability to tie notes, have dotted notes, basic triplet groups, and then add to that the ability to include rests, the number of combinations of "rhythms" is already so incalculably close to infinite for our purposes that there's no need to bother.
You may be using the word "Rhythm" to describe was is essentially a "Stock Rhythm Pattern", and the word is sometimes (commonly) used that way.
But you're not looking for "Classical Guitar Rhythms".
You're looking for "Stock Rhythmic Patterns used in pieces for Classical Guitar".
These could be something like a "Tango" or "Habenera" which have "stock" accompaniment patterns (which are actually more than just Rhythmic, because many of them have Pitch contour as well as Harmonic intent).
It could also include other "folk" music influences (where stock patterns are more likely to be found) such as Flamenco Music, where one could take a simple chord and "play it in a rhythmic pattern".
Thus, any "list" of "Rhythms" would be a listing of predominantly folk music styles, forms, and patterns that have been used in Classical Guitar Music (and purists might argue that too much of some of those elements takes it out of the realm of "classical" music possibly).
But in Classical *period* music, as well as Baroque, Romantic, and 20the century music where folk forms were not influences or being emulated, there aren't any "stock" rhythmic patterns named. Again, all we have are a handful of "accompaniment techniques" or "stock chord progressions" (Ground Bass, Passacaglia, etc.) but even with them, the amount of variety of "rhythm" within them is pretty much infinite.
Even the ones you encounter fairly regularly don't have names.