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.

翻译：1888年，文森特·梵高写道："我寻求本质的夸张。"这一原则——放大结构形式而抑制摄影细节——是后印象派艺术的核心。然而，现有的大多数3D风格迁移方法颠倒了这一理念，将几何结构视为表面纹理投影的刚性基底。要真实再现后印象派风格化，必须将几何抽象作为表达的主要载体。我们提出了一种用于3D高斯溅射（3DGS）的流引导几何平流框架，该框架在无网格环境中实现了这一原则。我们的方法从2D绘画中提取定向流场并将其反向传播到3D空间，通过校正高斯基元形成与场景拓扑一致的流对齐笔触，且不依赖显式网格先验。这使得表达性结构变形直接由绘画运动驱动，而非光度约束。我们的贡献有三方面：（1）一种基于投影的无网格流引导机制，将2D艺术运动传递至3D高斯几何；（2）一种亮度-结构解耦策略，将几何变形与颜色优化分离，以减轻激进结构抽象过程中的伪影；（3）一个VLM-as-a-Judge评估框架，通过美学判断而非传统像素级指标来评估艺术真实性，明确应对艺术风格化的主观性本质。