Abstract
In this regard, by examining more than 200 writings and studies in the field of calligraphy, it was found that the researches have moved from the traditional methods of historiography to scientific and critical research methods. These researches are classified in various categories and groups based on the topic, purpose, and implementation style. The coexistence and impact of different arts in the contemporary world, as well as the necessities related to the market and economy of art, has pushed calligraphy and related studies to a new direction.
This research showed that in recent decades, researchers have tried to analyze and interpret calligraphy works by using contemporary theories and new approaches, and this has led to the creation of new interpretations and new insights in evaluating and understanding calligraphy as a form.
This research, as a systematic review, has done an in-depth study of the field of contemporary calligraphy in Iran and seeks to categorize, typify and analyze the diversity of research done in this field. This study seeks to answer two basic questions: 1- What is the current state of calligraphy research? 2- How are calligraphy researches categorized and what factors have been effective in this variety of categories?
Keywords: Systematic review ,typology ,contemporary Iranian calligraphy ,calligraphy research ,art research

Introduction
With the transition from tradition to modernity, Iranian calligraphers have gradually adopted innovative approaches to their works by using new tools. This period of transformation has created a significant diversity in the types of writings, books, articles, and theses written about calligraphy. However, despite these advances, numerous criticisms have been made of the discourse of contemporary Iranian calligraphy, emphasizing the shortcomings and omissions in scientific research.
In this study, using a systematic review approach, we seek to identify and analyze various dimensions of contemporary research on Iranian calligraphy. Our research questions include: how calligraphy studies have diversified, the concerns of researchers in this field, how research is categorized, and the factors influencing the development and diversity of this research. Our main goal is to highlight the research and studies that have been conducted and to prevent duplicate work due to existing research gaps within a specific time period, to ultimately help advance knowledge in the field of Iranian calligraphy.

Materials & Methods
The data were collected by referring to the National Library of Iran and by preparing a list of all published books, their content was compared. In this process, the differences in the books were identified and the bibliographic information allowed us to access other lesser-known research. Also, newer scientific research articles were extracted from the archives of reputable domestic journals such as" Peykere", "Negare", and ...
Among more than 140 selected studies, screening was first performed based on titles and finally, by reviewing the abstracts and in some cases, the full studies, the studies were classified into 16 typologies.

Discussion & Result
Calligraphy research can be divided into several general categories:
● Encyclopedic
● Historical
● Artifact Studies
● Artist Studies
● Epistemology
● Stylistics
● Aesthetics
● Approach
● Educational Treatises
● Textual Studies
● Terminology and Dictionaries
● Contextual Studies
● Critical
● Contemporary Studies
● Interviews
Discussion
As we approach the present, research moves away from historiography and "biography" writing and approaches scientific research articles on various topics.
Modern and contemporary research began in the mid-1960s with the research of Mehdi Bayani, Habibollah Fazaeli, and Ali Rahajiri.
The "biography" writing method is still seen as a traditional method in the works of researchers,
The tendency of young people towards calligraphy, especially "Nasta'liq", along with the need for traditional arts to compete with contemporary arts, has caused calligraphy research in Iran to move towards modernization.

Conclusion
Research in the field of calligraphy has developed from traditional historiography to scientific and critical research with diverse topics. However, the main focus is on spiritual and mystical aspects. For the future, new and innovative topics, especially in social and economic fields, are needed for calligraphers to maintain their position in the art market and achieve further progress. Greater attention to basic and scientific research and the development of research methods can help to improve the quantity and quality of studies in this field.