Abstract
In 1888, Vincent van Gogh wrote, "I am seeking exaggeration in the essential." This principle, amplifying structural form while suppressing photographic detail, lies at the core of Post-Impressionist art. However, most existing 3D style transfer methods invert this philosophy, treating geometry as a rigid substrate for surface-level texture projection. To authentically reproduce Post-Impressionist stylization, geometric abstraction must be embraced as the primary vehicle of expression. We propose a flow-guided geometric advection framework for 3D Gaussian Splatting (3DGS) that operationalizes this principle in a mesh-free setting. Our method extracts directional flow fields from 2D paintings and back-propagates them into 3D space, rectifying Gaussian primitives to form flow-aligned brushstrokes that conform to scene topology without relying on explicit mesh priors. This enables expressive structural deformation driven directly by painterly motion rather than photometric constraints. Our contributions are threefold: (1) a projection-based, mesh-free flow guidance mechanism that transfers 2D artistic motion into 3D Gaussian geometry; (2) a luminance-structure decoupling strategy that isolates geometric deformation from color optimization, mitigating artifacts during aggressive structural abstraction; and (3) a VLM-as-a-Judge evaluation framework that assesses artistic authenticity through aesthetic judgment instead of conventional pixel-level metrics, explicitly addressing the subjective nature of artistic stylization.
Abstract (translated)
1888年，文森特·梵高写道：“我追求的是在本质上的夸张。”这一原则强调放大结构形式的同时抑制摄影细节的呈现，构成了后印象派艺术的核心。然而，现有的大多数三维风格迁移方法与此理念背道而驰，将几何视为表面纹理投影的固定基底。为了真实地再现后印象派风格化效果，必须采用几何抽象作为主要表现手段。 我们提出了一种基于流引导的几何推进框架，应用于3D高斯点云(3DGS)，该框架在没有网格约束的情况下实现了这一原则的应用。我们的方法从二维画作中提取方向性流动场，并将其回传至三维空间中，矫正高斯原始模型以形成与场景拓扑相吻合且符合画家动作的流线型笔触，而不依赖显式的网格先验条件。这使得结构变形能够直接由绘画动作驱动，而非基于摄影测量约束。 我们的贡献有三个方面： 1. 提供了一种投影基、无网格流动引导机制，将二维艺术运动转移至三维高斯几何中。 2. 一种亮度-结构解耦策略，使几何变形从颜色优化中分离出来，在进行激进的结构抽象时减少了伪影的产生。 3. VLM（视觉语言模型）作为评判者的评估框架，通过审美判断而非传统的像素级度量来评定艺术作品的真实性和表现力，直接应对了艺术风格化主观性的挑战。
URL
https://arxiv.org/abs/2601.10075
