In exploring sound and Indic philosophy through art and music, Nicola discovered an underlying silence, and in that quietude, she found the essence of spirituality.
By Sophia Ann French
Nicola teaches a Veda recitation workshop at Buddha Pāda, Kalimpong, 2025 (Image above)
I’ve never met a creative person who didn’t take to Veda, and Artist and Veda Recitation Teacher, Nicola Durvasula, agrees that there is a certain quality about Indic Knowledge Systems that appeals to an artist’s mind. Nicola works across drawing, sculpture and sound. She studied Fine Art in France, and moved to Hyderabad (South India) in 1992, where she lived for ten years, teaching art at the University of Hyderabad. Her work, over the past thirty years, has made multiple references to Indian art and philosophy, elements she has juxtaposed within a Western aesthetic tradition. She has been a tutor at the Royal Drawing School, London, since 2012 and is now also a Veda recitation teacher. Her love for India blossomed when she was growing up in England, and recalling her childhood, Nicola says, “In the 1960s, India pervaded the air with flower power. We had agarbattī, mirrorwork, and everything Indian had come to England in the 60s. That had quite an impact on me as a child. I went to study art in France, and in my early 20s, I was introduced to Indian philosophy. I began reading the teachings of Jiddu Krishnamurti, and that really helped me to see the world in a very different way. I also read the work of Nisargadatta Maharaj and Ramana Maharshi, so I was influenced by Vedantic philosophy in my early 20s, and it has stayed with me throughout life. When I was studying art in France, I visited the Guimet Museum of Asian Art often, as the sculptures’ aesthetics really struck me. It was such a different way of depicting the human figure. It was so different from how I studied art. It was a different language, and I loved it. That took me to India in 1988. It was my first trip, and I spent over a year travelling across India, visiting historic sites and art schools like the Baroda Art School. I was doing some voluntary work in India when I met my Indian husband and ended up living in Hyderabad (South India) for 10 years. In my heart, I feel Indian.”
In addition to being an artist, Nicola plays the piano, which she feels helped her with Veda svaras. “I’ve played the piano since I was seven. I read classical and Western notation — it is why I am good at svara. I have always loved playing the piano, and as a visual artist, I became very interested in sound as art. I met a wonderful pianist who introduced me to graphic notation — it’s like visual scores. I would create visual scores that musicians could interpret. What really interests me about Veda, though, is the quality of listening. Vedic chanting has enhanced my art practice and my piano playing,” says Nicola.
While she was travelling in India and finding inspiration for her art, she came across Vedic chanting in Varanasi and Pushkar, but it didn’t occur to Nicola that one day she would be chanting these mantras and even teaching them. “I moved back to the UK 24 years ago, and I went deeper into Indian philosophy, reading and teachings. When I first heard chanting in India in my 20s, I never thought in a million years I could ever learn it. I thought it was only for Brahmins or pundits. I just enjoyed listening to the mantras, and around ten years ago, I was asked to write an essay for an art catalogue. For that essay, I wanted to look at sound in Indian philosophy, and as a result of writing the essay, I found courses I could take to learn to chant. Eventually, I found Veda Studies, which was fantastic. I’ve been studying with Shantala for about five years and never looked back. Professionally, I’m an artist. I studied fine art and work with various mediums, including painting, drawing, ceramic sculpture and sound-based art. I’ve shown in Indian galleries since the 90s, and I feel very fortunate to showcase my work in India as a Western artist. Everything in life informs my art. I’m completely grounded with the chanting, and I will never stop as long as I’m alive. I just love it,” says Nicola.
Installation Art by Nicola. Solo show called ‘Pang’ showcased at Galerie Mirchandani + Steinruecke, New Delhi, 2025
Art, Philosophy and Veda Mantras
Indian philosophy has been the underlying stratum of Nicola’s work, and she was inspired to study Veda for two reasons. “First, I studied Hindi when I lived in Paris, and I learned the Devanāgarī script. It was a degree course in Hindi and Culture, so I learned a lot about India, plus the language. The second reason is the mantras. They’re so profound and so beautiful, and I know that they have an impact on me non-verbally. Something was happening to me when I listened to them. I was understanding sound philosophy — the struck sound and the unstruck sound. I chant early in the morning, and it informs my art practice, and everything,” says Nicola.
The effect of Veda mantras on memory surprised Nicola the most, “I find it extraordinary that I can quickly memorise the chants. That astounded me because I could never memorise a single piece of music when I played the piano. I could learn for days, weeks, months, and I couldn’t even memorise the first bar. I remember being surprised by how quickly I could recite mantras from memory. It’s something I can’t put my finger on — why is it that I can’t memorise a piece of music, but I can memorise these chants? I’m also astounded that the mantras are so ancient. They’re so beautiful, profound and poetic. I realised this mystical poetry expresses the laws of nature and the laws of the universe. I have been travelling to India since the 1980s, and Indian philosophy has been part of my life since, but the actual chanting of the mantras is a kind of awakening. I find they have changed my life,” says Nicola.
Teaching and Sharing Veda
Nicola attended the first Indica Veda Studies Teacher Training Programme (2023) and is currently attending the TTC Level II. She conducted a Veda recitation workshop at the Buddha Pāda Institute in Kalimpong and found out just how helpful the Veda Studies Phonetics Guide is. “Buddha Pāda is a centre for the study and practice of Buddhism and Indian philosophical and cultural traditions. It was very kind of them to let me teach Veda there, and I thought I would only have Indian students, but I had one French student and one student from Bhutan. For them, I worked with the English transliteration and phonetic guide. This was my first workshop, and I had made notes and structured it, but I was also being flexible. I wanted to deliver the teaching with respect. The way Shantala does — with immense respect for the tradition. She also tells us that as teachers, we should make the teaching our own, and I did that. I was very happy to give that workshop, and hopefully, I will go back.”
When I asked Nicola what advice she has for students who want to begin their Veda recitation journey, she said she doesn’t give advice but offers them the suggestion to “be very patient and allow the Vedas to come to you. They reveal themselves slowly and gently. Respect that great tradition and be sincere as a student. Learn to listen. I’m very careful about how I talk to people about sacredness and spirituality. For me, it does not come from the outside world; it comes from the heart centre. Spirituality is the power of silence. The way Dakṣiṇāmūrti taught the universal language of silence — for me, that is the penultimate in spirituality.”
To get in touch with Nicola, email her at [email protected]