Title: Visual Thinking Strategies in Museological Practice: Towards a Dialogical Model of Interpretation Abstract: This article examines the theoretical and practical implications of Visual Thinking Strategies (VTS) in contemporary museological practice. Positioned against traditional models of curatorial authority, VTS introduces a dialogical and participatory approach to interpretation based on collective visual inquiry. By encouraging open-ended observation and discussion, VTS reshapes the relationship between visitors, objects, and institutional narratives. Drawing on international examples, the paper argues that VTS reflects a broader shift in museology toward inclusivity, co-creation, and the decentralization of expert authority. Authors: Grzegorz Schnotale¹ Publication order reference: ¹ Cracow University of Technology, Faculty of Architecture, Department of Drawing, Painting and Sculpture, Cracow, Poland, e-mail: grzegorz.schnotale@pk.edu.pl, https://orcid.org/0000-0002-3183-8258 Source: Muzeológia a kultúrne dedičstvo, year: 2026, vol.: 14, issue: 2,  pages: 5–14. Keywords: Visual Thinking Strategies, museums, art-viewing behaviours, cultural heritage Language: English online full-text PDF doi: 10.46284/mkd.2026.14.2.1 Title: Interpreting Intangible Cultural Heritage in Museum Practice: Krakow’s Centre as a Model of Educational Innovation Abstract: This article explores the role of the Intangible Cultural Heritage Interpretation Centre of Krakow (CINDK) as a model institution for the protection, education and dissemination of intangible heritage in Poland. Established as a branch of the Historical Museum of the City of Krakow, the Centre reflects contemporary museological trends by adopting participatory, inclusive and interdisciplinary methods. It operates at the intersection of research, education and community engagement, emphasizing the co- creation and living nature of heritage. The article presents the Centre’s key objectives and activities, including its documentation projects, educational programs and cooperation with UNESCO. Special attention is given to flagship initiatives such as the Krakow Nativity Scene and the Lajkonik procession, which are presented as successful cases of safeguarding local traditions within global heritage frameworks. The analysis also identifies challenges – such as folklorisation, generational change, and the need for digital innovation – and discusses how the Centre addresses them through educational outreach and international collaboration. The case of Krakow illustrates how a local institution can function as a laboratory of heritage interpretation, connecting academic knowledge with civic practice and contributing to the broader field of intangible heritage studies. Authors: Justyna Łukaszewska-Haberkowa¹ Publication order reference: ¹ Independent researcher, Kraków, Poland, e-mail: justyna.haberkowa@gmail.com, https://orcid.org/0000-0003-0939-5566 Source: Muzeológia a kultúrne dedičstvo, year: 2026, vol.: 14, issue: 2,  pages: 15–28. Keywords: intangible cultural heritage, museum, tradition bearers Language: English online full-text PDF doi: 10.46284/mkd.2026.14.2.2 Title: Museums as Catalysts for Sustainable Cultural Tourism: Insights from Hungary Abstract: This article applies a four-pillar sustainability framework comprising cultural, environmental, social and economic dimensions, to assess 46 museums in the less-developed Hungarian counties of Szabolcs–Szatmár–Bereg and Borsod–Abaúj–Zemplén, thereby addressing a research gap, as previous studies have tended to focus on more developed regions. The results show that half the institutions do not have formal sustainability strategies, but many are implementing practical initiatives. Environmental actions are largely low-cost, while social and cultural contributions are strong, with museums acting as community hubs, educators and custodians of heritage. Economically, museums support sustainability through local employment and procurement. The study highlights museums’ under-recognised potential in sustainable tourism and calls for clearer strategies, investment and professional training. Author: Tekla Balogh Bodor¹; Melinda Jászberényi²; Krisztina Keller³ Publication order reference: ¹ Hungarian National Museum, Múzeum krt. 14–16, 1088 Budapest, Hungary & Corvinus University of Budapest 8 Fővám Square, 1093 Budapest, Hungary, e- mail: tekla.balogh-bodor@stud.uni-corvinus.hu, https://orcid.org/0009-0009-4131-3824 ² Corvinus University of Budapest, Department of Tourism, 8 Fővám Square, 1093 Budapest, Hungary, e-mail: jaszberenyi@uni-corvinus.hu, https://orcid.org/0000-0002-7839-5036 ³ Corvinus University of Budapest, Department of Tourism, 8 Fővám Square, 1093 Budapest, Hungary, e-mail: krisztina.keller@uni-corvinus.hu, https://orcid.org/0000-0002-4408-7940 Source: Muzeológia a kultúrne dedičstvo, year: 2026, vol.: 14, issue: 2,  pages: 29–49. Keywords: museums, sustainability, sustainable cultural tourism, four pillars Language: English online full-text PDF doi: 10.46284/mkd.2026.14.2.3 Title: An ostrich egg depicting a scene of an enema, as an example of a curiosité and a manifestation of a certain era Abstract: This article presents an interdisciplinary analysis of a rare and intriguing artefact, a decorated ostrich egg held in the Zamoyski Museum in Kozłówka, Poland, setting it within the tradition of curiosités and early modern European material culture. The object, engraved with figural scenes, including a notably explicit depiction of an enema procedure, is interpreted through the lenses of iconography, the history of medicine and the social conventions of seventeenth-century Dutch culture. The study explores how the enema, beyond its medical function, operated as a metaphor for sexual desire, moral correction and corporeal control, reflecting the period’s complex attitudes toward gender, the body and propriety. The egg is also considered in relation to the broader phenomenon of luxury ostrich eggs as objets croisés – cross-cultural artefacts that blend exotic material origins with European craftsmanship and emblematic content. Through visual and literary analysis, the article demonstrates how this single object embodies multilayered narratives of curiosity, discipline, eroticism and social satire, while becoming a compelling testament to the symbolic richness and ambiguity characteristic of early modern visual culture. Authors: Małgorzata Żak-Kulesza¹ Publication order reference: ¹ The John Paul II Catholic University of Lublin, Department of Art History, Al. Racławickie 14, 20-950, Lublin; Poland e-mail: malzak@kul.pl, https://orcid.org/0000-0002-3601-4709 Source: Muzeológia a kultúrne dedičstvo, year: 2026, vol.: 14, issue: 2,  pages: 51–69. Keywords: Dutch material culture, medical imagery in art, iconography, engraved ostrich eggs Language: English online full-text PDF doi: 10.46284/mkd.2026.14.2.4 Title: Nikifor’s Work at the Krynica Zdrój Museum as an Example of Twentieth-Century Lemko Naive Painting Abstract: This article analyses the activities of the memorial museum of the self-taught artist Nikifor Krynica, whose real name is Epifaniusz Drowniak. The museum’s uniqueness lies in its location in a historic wooden villa called Romanówka, which lends the museum an authentic atmosphere. The importance of Nikifor’s paintings lies not in the mastery of techniques or colour, but in their authenticity to the lands of his native Lemko region. On the other hand, his sketches and watercolours provide insight into everyday life and society at different times; they depict real architectural objects, some of which have not survived. In this case, the artist’s paintings become an important cultural, historical, and restorative source of information. Authors: Ion Sandu¹; Krystyna Paprzyca²; Oleksandr Kashchenko³; Valerii Tovbych⁴ Publication order reference: ¹ Аcademy of Romanian Scientists AOSR, Аlexandru Ioan Cuza University of Iasi, Interdisciplinary Research Institute – Science Department, National Institute for Research and Development in Environmental Protection, Romanian Inventors Forum, Rumunia, e-mail: ion.sandu@uaic.ro, https://orcid.org/0000-0003- 4088-8967 ² Academy of Silesia, Faculty of Architecture, Civil Engineering and Applied Arts, Katowice, Poland, e-mail: kpaprzyca@gmail.com, https://orcid.org/0000-0003- 0112-1456 ³ Kyiv National University of Construction and Architecture, Ukraine, e-mail: kashchenko.ov@knuba.edu.ua, https://orcid.org/0000-0001-8570-264X ⁴ Kyiv National University of Construction and Architecture, Ukraine; e-mail: tovbych@gmail.com, https://orcid.org/0000-0002-4794-4944 Source: Muzeológia a kultúrne dedičstvo, year: 2026, vol.: 14, issue: 2,  pages: 71–81. Keywords: Nikifor Krynicki, Krynica Zdrój, Lemko culture, self-taught artist, naive painting Language: English online full-text PDF doi: 10.46284/mkd.2026.14.2.5