The earliest, classical examples of classical dragon carpets that have survived to our time date back to the 16th-18th centuries and are characterized by the presence of stylized images of a mythical dragon in the decorative system, rather large sizes and extraordinary richness of the decorative system.
Dragon carpets are considered the oldest group of not only Armenian, but also worldwide carpet weaving culture. A number of scholars, including F. Martin, F. Sarren, F. Gantzhorn, L.E. Murray, L. Der Manuelian, G.H. Ellis, consider dragon carpets to be of Armenian origin, based on their similarities with other branches of Armenian art. F. Martin mentions Van and Sebastia as the place of origin, Gantzhorn considers Vaspurakan and Lesser Armenia as the place of origin, and G.H. Ellis considers that the center of production was Artsakh, near Shushi. According to Vahram Tatikyan, classic dragon rugs are descended from ancient Artsakh tribal rugs.
In the composition of dragon rugs, the abstract, stylized image of the dragon is emphasized through various combinations of floral and animal motifs, which is where the name of the rug comes from. On the base of the dragon carpet, magnificent rosettes with various compositions are arranged along the longitudinal central axis. The dragons are placed in 2 rows parallel to that axis, 2-4 in each, with trees of life depicted near them. Classical dragon carpets are also characterized by large sizes (about 3x7 m), a single decorative band, and four dominant colors: red, blue, brown, and ivory. The main color is predominantly bright red, obtained from vordan karmir (Armenian cochineal).
In almost all European, Eastern, and even late Armenian traditions the dragon appears as some evil entity of darkness and water, which can only be defeated with the help of God, while in Armenia there is a second, older dragon with exactly the opposite properties: as the guardian of water, it symbolizes goodness and wisdom, embodies power, and protects against injustice and evil. The idea of the dragon as a transformation (incarnation) of the Divine originates from ancient beliefs of totemic times. One of the best examples of such an idea of the dragon is the dragon stones, which were placed near the sources of natural and artificial reservoirs and springs and symbolized the unbridled power of the elements, the awakening of nature, fertility, and abundance. Based on the above, it can be assumed that the dragon rugs had a protective significance. Moreover, in addition to their central position on the carpet, dragons were also used as guardians and patrons in the decoration of the borders. The border itself, whose decorative details are mainly serrated, zigzag or spiral color stripes with an ominous meaning, daghdghan-type (talisman) and "snake-like" stylizations, etc., acted as a factor that protected the sacred and immaculate area of the carpet from evil forces.
A. Poghosyan, On the Basic Issues of the Genealogy and Typology of Classical Dragon Rugs.
F. Gantzhorn, The Christian-Oriental Rug
Ch.G. Ellis, Early Caucasian Rugs
V. Tatikyan, Artsakhian Tribal Rugs